Ana Sayfa

Klasik Müzik CD

Sonate da camera a tre, due violini e violone o cembalo, opus 1 - CD

L’Estravagante

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Barkod: 0709861305353 , Katalog No: OP30535 , Firma: Naive , Yayınlanma Tarihi: 2013

Tür: Klasik Müzik

Format Türü: CD, Format: 1 CD

ENGLISH

The official 'debut' of composer Vivaldi! Probably the earliest works of his that have come down to us... In 1705, Giuseppe Sala published in Venice the Suonate da camera a tre, due violini o violone o cembalo op.1 of Antonio Vivaldi. This set of trio sonatas marked the official 'debut' of a composer who was already more than a mere youth (the 'Prete Rosso' was then twenty-seven years old), and probably contains the earliest works of his that have come down to us. It is very likely, though, as Michael Talbot has pointed out, that the copy of 1705 is in fact a reprint of a now lost first edition published in 1703. However that may be, this collection dedicated to the Brescian nobleman Count Annibale Gambara displays a balance ' at times, inevitably, somewhat precarious ' between reference to codified formulas and models, on the one hand, and the definition of an original expressive voice on the other. In terms of scoring, his op.1 adopts the recently created Italian format of the trio sonata, the output of which was dominated by the Arcadian reform of Arcangelo Corelli. [...] Vivaldi's volcanic personality, already perfectly recognisable in the collection, [...] is rooted in the Venetian violin tradition of the seventeenth century and its dual matrix, at once virtuosic and affective. A tradition that, starting from the 'stil moderno' of Dario Castello and the implications for instrumental style of Monteverdi's 'seconda prattica', traces a history in which the demands of virtuoso concertante playing, on the one hand, and emulation of vocal expression and inflections on the other, confront and intertwine with each other. In the early eighteenth century, Vivaldi appears at once the worthiest heir to and the most inspired interpreter of this double tradition. [...] Other aspects too contribute to the already authentically Vivaldian character of the set: the dazzling harmonic invention; the interest in structural chromaticism (with the harmony generated by the bass reflected in the upper melodic lines); the predilection for ostinato (conceived either as an accompanimental formula or as a strictly melodic unit); and finally, an intensely expressive, cantabile melodic style inspired by vocal music. Vivaldi displays great diversity in the character of the different types of movements, not only in the preludes, but also in the dance movements. The allemanda, corrente and sarabanda movements offer the widest variety of rhythmic stylisation, while those designated giga and gavotta tend to conform to a single rhythmic figure corresponding to the dance step. -- Excerpts from the inside notes

Eser Listesi

Antonio Vivaldi

Sonata IX in la maggiore RV 75

1. Sonata XII “Follia” in re minore RV 63