Composer: Antonio Vivaldi
Works: The Concerto Collection [8 CDs]
Performers: Simon Standage (violin), Stephen Preston (flute), Anthony Pleeth (cello), Dan Laurin (recorder), Jakob Lindberg (lute), Daniel Smith (bassoon), Manfred Kraemer (violin), Balázs Máté (cello), Jed Wentz (flute), and others
Recording: Various sessions, licensed from CRD Records, Nuova Era, BIS, and ASV
Label: Brilliant Classics
Antonio Vivaldi, the Baroque maestro known for his vibrant and innovative concertos, continues to captivate audiences with his prodigious output. This collection, spanning eight CDs, pulls together a diverse selection of Vivaldi’s concertos, showcasing not only his well-known works like “The Four Seasons” but also lesser-known gems that reflect the breadth of his creativity. Recorded over nearly two decades, this compilation offers a fascinating cross-section of interpretations, revealing the evolution of performance practices in the interpretation of Vivaldi’s music.
The performances, primarily by historically informed ensembles, draw on original instruments, which profoundly affect the overall sound and execution. The English Concert under Trevor Pinnock delivers a particularly compelling interpretation in the first two discs, which encompass “Il Cimento dell’Armonia e dell’Invenzione,” including “The Four Seasons.” Standage’s playing is characterized by a clear articulation and an expressive approach that avoids the pitfalls of romanticism, deftly navigating the intricate violin lines with both vigor and sensitivity. The slow movements possess a lyrical quality that resonates deeply without succumbing to sentimentality, while the lively allegros maintain a joyful buoyancy. This balance exemplifies the quintessential Vivaldi sound, one that remains exhilarating and fresh.
Contrasting with the English Concert’s approach is Il Giardino Armonico, whose 1988 recordings of the “Concerti da camera” reveal a more radical rethinking of Vivaldi’s style. Their performances are marked by brittle attacks and a faster tempo that brings the music to life in a manner that might seem disconcerting to traditionalists. The ensemble’s choice to embrace a more staccato articulation and brisk pacing offers a provocative interpretation of works typically rendered with a smoother finish. The effectiveness of this interpretation lies in its ability to challenge preconceived notions of how Vivaldi’s music should be approached, generating a vibrant dialogue between historical performance practice and contemporary sensibilities.
Sound quality throughout the collection is consistently high, with engineering that captures the nuances of both solo and ensemble playing. The vividness of the recordings allows the listener to appreciate the distinct tonal qualities of the original instruments, particularly in the lute and bassoon concertos. However, the collection is not without its shortcomings. The absence of liner notes detracts from the experience for listeners unfamiliar with Vivaldi’s sonnets or the historical context of the pieces. Such information would enhance the understanding of the music’s narrative and emotional landscape.
In juxtaposition, the modern instrument performances of the bassoon concertos, led by Daniel Smith, offer a different yet complementary perspective. While the sound is undeniably enriched by the modern bassoon’s capabilities, the compositions themselves reveal a more routine aspect of Vivaldi’s creativity. The florid passagework, while technically impressive, often feels less inspired compared to the more imaginative concertos showcased earlier. Nevertheless, the performers maintain an invigorating energy that keeps the listener engaged, particularly in the Largo of RV 486, where Smith’s phrasing shines.
The collection’s final disc features various concertos for diverse instruments, performed by Musica ad Rhenum, which exemplifies the collection’s overarching themes of contrast and evolution in performance practice. Their interpretations balance the exuberance of Vivaldi’s fast movements with a keen sense of phrasing and dynamic shading, illustrating how original instruments can yield a fresh perspective on Vivaldi’s work without sacrificing musicality.
This comprehensive collection offers a substantial array of Vivaldi’s concertos, making it a valuable resource for both the dedicated enthusiast and the casual listener. While it may not serve as an essential introduction to Vivaldi for novices—given the lack of contextual information—it stands as a robust compendium for those wishing to delve deeper into the composer’s rich output. The performances, while varying in style and interpretation, provide ample opportunity for exploration and enjoyment, confirming Vivaldi’s enduring legacy as a composer whose work continues to inspire and provoke thought centuries after his time.
