Composer: Antonio Vivaldi (1678-1741)
Works: String Concertos, Volume 2
Performers: Collegium Musicum 90 / Simon Standage
Rec: October 2000, All Saints’ Church, East Finchley, London
Label: CHANDOS CHAN 0668 [65.40]
Antonio Vivaldi’s prolific output is often characterized by the vivid interplay of thematic material and virtuosic display, yet his String Concertos, Volume 2 presents a different facet of his compositional style—one that is often overshadowed by his more celebrated concertos for solo instruments. This collection of concerti a quattro, devoid of soloists and instead featuring a string orchestra, yields a unique listening experience that oscillates between the realms of leisure and simplicity.
The concertos herein, with their brisk movements often lasting under three minutes, reflect Vivaldi’s likely intent to cater to the limited resources of the Ospedale della Pietà, where he served. The Concerto RV 163 in B flat major, for example, opens with a thematic statement that could easily serve as an operatic overture, yet the brevity and straightforwardness of its structure prevent it from achieving the depth found in his more famous works. The thematic exploration feels cursory, as if Vivaldi were sketching ideas rather than fully developing them—a characteristic echoed throughout this volume.
Simon Standage and Collegium Musicum 90 deliver a performance that is polished and cohesive, yet it occasionally suffers from an overly cautious approach that renders some of the more energetic passages, such as the Allegro of RV 109, lacking in the exuberance that Vivaldi’s music often demands. The ensemble’s intonation and clarity are commendable, but one longs for a greater sense of spontaneity, particularly in the faster movements where the rhythmic drive could be more pronounced. A comparative listening of Il Giardino Armonico’s interpretations of similar works reveals a stark contrast; their performances, marked by vibrant articulation and dynamic contrasts, imbue Vivaldi’s music with an exhilarating vitality that is somewhat muted here.
The recording quality is impeccable, capturing the warm tonal qualities of the strings against the acoustically rich backdrop of All Saints’ Church. Each instrument is rendered with clarity, allowing for an appreciation of the intricate counterpoint that Vivaldi often employs, even in these less ambitious works. However, the engineering choices favor a somewhat reverberant sound that may leave the listener longing for a crisper delineation of lines in more intricate passages.
Historically, these concertos serve as an essential reminder of Vivaldi’s versatility and adaptability as a composer. While they may not reach the heights of his concerti for violin or flute, they nonetheless chart a significant course through the Baroque landscape, reflecting the social and musical contexts of their time. The simplicity of their construction can be seen as a precursor to the later classical symphonic form, where thematic material is often presented in a more succinct manner, albeit with greater development.
In conclusion, Vivaldi’s String Concertos, Volume 2 is a fascinating exploration of the composer’s breadth, albeit one that feels like an appetizer rather than a main course. It is a work that may appeal to the Vivaldi aficionado or those interested in the historical context of his output, yet it may not satisfy listeners seeking the robust emotional engagement found in his more celebrated concertos. While the performance is commendable and the recording quality is high, the overall effect is one of pleasant simplicity, likely to fade from memory as quickly as the movements themselves.
