Albums

£11.99
£7.99

Violin Concertos - Released September 28, 2018 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason
Fabio Biondi had his work cut out for him with the complete recordings of Vivaldi's violin concertos, as the Venetian left behind more than 250 works for one, two, three or four violins. Volume VI here offers a group of six concertos written in Prague and Bohemia in the course of his stay there between 1730 and 1731. Today, musicology has become much more of a science, and it is possible to put a date on these manuscripts by means of a precise analysis of the paper used by the composer if the music doesn't speak for itself. The Antonio Vivaldi of these pieces retains the style for which he is known and loved across Europe. Fabio Biondi notes that as there are only a few hints of Bohemian music in these concertos, which are more resemblant of Vivaldi's younger work. We might conclude that while abroad, the composer was writing pieces which, while new, were destined for use by his beloved students in the Pietà. Venetian chroniclers from the time often wrote of Vivaldi's virtuoso violin playing, admiring the inventiveness that he brought to the cadenzas of his concertos (the section at the end of a movement which is left open for creative improvisation) and the fantasy that he worked into his improvisations. While we have no proof that Vivaldi was the soloist for his own works during his Bohemian trip, Fabio Biondi, a true connoisseur of Vivaldi's style, clearly aims to apply this spirit to his recordings, and nowhere more so than here. © François Hudry/Qobuz
£11.99
£7.99

Violin Concertos - Released September 10, 2018 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Exceptional sound - Hi-Res Audio
£14.38
£10.79

Violin Concertos - Released April 27, 2018 | Berlin Classics

Hi-Res Booklet Distinctions 5 de Diapason
Undesired babies, in this case little girls, were dropped off in the famous convent, conservatory and orphanage of the Ospedale della Pietà in Venice, where Vivaldi was a violin teacher and main composer for a long time. Many of these girls, once adults, became musicians and quite a few of them reached the highest level of recognition. For one of these pupils, by the name of Anna-Maria dal Violin (the “dal Violin” wasn’t her last name, but rather a nickname highlighting her ability as a musician), Vivaldi wrote twenty-five concertos, a shining proof of her tremendous mastery; to the extent that, it seems, people came from afar to listen to her perform. Listen only in fact, not see her, as young ladies had to play behind a screen so that it was impossible to have the slightest glimpse at their appearance. But Rousseau did manage to catch one in 1743: "If you are so desirous," said an ambassador to him, "to see those little girls, it will be an easy matter to satisfy your wishes. I entering the saloon, which contained these beauties I so much sighed to see, I felt a trembling of love, which I had never before experienced. Mr le Blond presented to me, one after the other, these celebrated female singers, of whom the names and voices were all with which I was acquainted. Come, Sophia − she was horrid. Come, Cattina − she had but one eye. Come, Bettina − the smallpox had entirely disfigured her. Violinist Midori Seiler, accompanied by the Concerto Köln, selected a nice handful of concertos written for the aforementioned Anna-Maria. Granted we’ll never know how she played, but one can get an idea of a few of her tendencies, as the young lady kept a musical journal in which she wrote a few variants for the second movement of the Concerto RV270a that can be heard here. In parallel, this selection also features a concerto by Galuppi and another by Albinoni, that are both in a similar vein, although they weren’t written for Anna-Maria. In tune with the custom/etiquette of the Ospedale, the Concerto Köln didn’t hesitate to add in the partition a few moments of woodwinds doubling on the chords: flutes, oboes and even chalumeau, the ancestor of the clarinet that Vivaldi himself used a few times in his concertos. © SM/Qobuz
£10.99
£7.99

Violin Concertos - Released March 23, 2018 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Editor's Choice - Exceptional sound
After the volumes dedicated to Vivaldi's great instrumental cycles, La Stravaganza (2004), La Cetra (2012) and L’Estro armonico (2015), English violinist Rachel Podger continues her work with her Brecon Baroque ensemble to bring out this version of the Four Seasons, which is rounded off with three violin concertos. Brecon Baroque is an offshoot of the festival of the same name that takes place every year at the end of October, in Wales. A magical place at the confluence of two rivers, where the spectacular countryside draws visitors every year in their hundreds. A passionate fan of the music of Vivaldi and Biber, Rachel Podger, who studied in Germany, demonstrates through her performances just how much the Red Priest's music (and her herself, following Biber) can cloak itself in the mysterious and bizarre, to the point that Vivaldi appears here as a distant descendant of the mannerists from the late Renaissance and early Baroque period. This is a particularly interesting and successful take.
£14.99
£9.99

Duets - Released March 23, 2018 | Arcana

Hi-Res Booklet Distinctions 5 de Diapason
As not indicated by its title, this album offers duos for two violins, a very wide repertoire that is however rarely recorded. “Suite Case” is simply the name of the first piece, penned by Giovanni Solima and precisely dedicated to our two soloists, Chiara Zanisi and Stefano Barneschi, followed by an impressive range of works written between the middle of the Baroque era and the present times with Bartók and Berio. It is worth noting that these pieces for two violins, a formation rather ill-suited for public concerts, had two distinct vocations: a pedagogic use, as is the case for Bartók’s 44 Duos (with a very pronounced insistence on Magyar folklore) and Haydn with his Three easy and progressive duos for two violins, whose name says it all; and a family use, like Telemann’s Canons mélodieux ou sonates en duo à flûtes traverses, ou violons, ou basses de viole (melodious canons or six duo-sonatas for traversos, or violins, or viola da gambas)—the composer, an excellent businessman, aimed at any and every possible buyer who wished to have small domestic concerts with any combination of two instruments. Only Vivaldi’s duo—at least for the repertoire of that era—seems to have been meant for a pair of virtuoso, a bit intrinsically: the language is neither for students nor for enlightened amateurs, given its difficulty. Curiously, the partition notes that the bass is optional… Even if it is not written, any harpsichordist could have improvised it in continuo. Solima’s piece acts as a guide for the album, opening and closing it. © SM/Qobuz
£10.79
£7.19

Classical - Released December 2, 2013 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason - Exceptional sound - Hi-Res Audio
£10.79
£7.19

Concertos - Released January 28, 2013 | naïve classique

Hi-Res Booklet Distinctions Diapason d'or - 4 étoiles de Classica - Hi-Res Audio
£10.79
£7.19

Violin Concertos - Released November 18, 2013 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason - Le Choix de France Musique - Hi-Res Audio
£7.19

Concertos - Released April 24, 2012 | Opus 111naïve

Booklet Distinctions Choc de Classica
£7.19

Concertos - Released March 7, 2006 | naïve classique

£28.79
£19.19

Full Operas - Released August 26, 2013 | Naive

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
£7.19

Chamber Music - Released March 19, 2012 | naïve classique

Distinctions 4 étoiles du Monde de la Musique
£7.19

Concertos - Released July 10, 2007 | naïve classique

Booklet
£7.99

Chamber Music - Released September 30, 2016 | Pan Classics

Booklet Distinctions 5 de Diapason
£14.99
£10.49

Violin Concertos - Released September 23, 2016 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Award - Gramophone Editor's Choice - Le Choix de France Musique
£11.99
£7.99

Chamber Music - Released September 9, 2016 | Challenge Classics

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
£14.99
£10.49

Violin Concertos - Released October 15, 2015 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - 4 étoiles de Classica
1720: in his famous pamphlet entitled ‘Fashionable Theatre’, the composer Marcello ironized the excesses of the new Venetian opera. This landmark pamphlet was published anonymously as Benedetto Marcello, under the fictional editorship of ‘Aldaviva Licante’ - undoubtedly an anagram of A. Vivaldi – ridiculing the operatic world of the time. It took on singers puffed up with pride, uneducated librettists, composers seeking dramatic effects, in short, everything that the musical world then thought about as original, unusual, new, experimental, shocking, weird, baroque, and, in a word, Italian! Vivaldi was one of Marcello’s favourite targets, continually lampooning the Red Priest and his virtuoso violin escapades. It is precisely these escapades that the violinist Amandine Beyer and the Gli Incogniti ensemble have chosen for their rich repertoire: detuned violin concertos (in the manner of Scordatura), violin ‘in tromba’, that is to say violin in a tone that betrays a scraped sound, not to mention more singular works in which Vivaldi leaves the soloist a freedom that gives real heart to the joy of improvisation. This is what really marks out Amandine Beyer, who performs in accordance with the habits of the composer, giving a clear, historical picture of her treatment of the ornaments. So, for the almost implausible Circus Maximus track, it is as if you were actually there, attending the Carnival of the year 1720! © SM/Qobuz
£6.47

Violin Concertos - Released June 1, 2015 | Brilliant Classics

Distinctions 5 de Diapason
£7.19

Classical - Released August 26, 2013 | naïve classique

Booklet