I'd like to take a moment to plug this album: This is one of the best recordings of Vivaldi violin concerti to come around in years. The performance + sound are fantastic all around. The balance is perfect, the tone glows and the performance of the orchestra and especially the soloist are breathtaking and captured perfectly. The lineup of concerti isn't as idiosyncratic as you might imagine Vivaldi would get writing for a virtuoso of Pisendel's caliber, yet the works have a strange ability to draw you in and an almost addictive quality. Consider adding this one to your collection!
This is a virtuoso concerto that could have made it to disc along with ‘Grosso Mogul’ and the like, except that it didn’t. It is the first piece on a brand new album of the Vivaldi Edition featuring rare works, all with a Dresden/Pisendel connection. I’ve only just heard it, but it sounds like a return to form for the Vivaldi Edition. Enthusiasts should definitely look into it. RV 314 vs RV 314a This recording of RV 314 uses an alternate slow movement found only in a set of parts used as performing material for the Dresden court. This version of the concerto is known as RV 314a. It is unknown if the beautiful Adagio was inserted by the composer or by someone else, but apparently the authorship is not in dispute. (The original slow movement, not heard here, also appears as the third movement of sonata RV 17a.) THE CADENZA The third movement features a cadenza that is not notated. ‘Qui si ferma a piacimento.’ For some reason, on this particular recording they decided not to insert any candenza. Therefore the movement (and the work) ends just before the cadenza is supposed to start. DATING No attempt has been made to date the work as far as I know, but the Turin autograph is very consistent with the calligraphy of earlier operas such as Arsilda, or the oratorio Juditha (both 1716). This would seem at least plausible from my perspective. The last movement has a flash of ‘Grosso Mogul’ towards the end (9:21), but the strongest connection is with op. 9 no 10, 3rd movement (also in the key of G major). THE SOURCE The concerto is preserved in Turin and in Dresden in two autograph scores. Both bear a dediction ‘Per Monsieur Pisendel’. After a bit of thought, I have chosen to use the Turin score to make this video, since it is the ‘original’ that Vivaldi kept with him. It is also much more legible. The Dresden manuscript, on the other hand, is in Vivaldi’s roughest handwriting. It is extremely similar in aspect to two other Vivaldi autographs in Dresden, the RV 237 and the RV 340 (aka ‘Per li coglioni’). It has been conclusively shown (by Ryom) that Vivaldi actually produced the Dresden score that he gave Pisendel by copying from the Turin one. This shows once again that Vivaldi’s manuscripts are rarely what they seem, the rough manuscript being the copy, and the neat one the ‘original’, or something closer to the original. I. Allegro (0:00) II. Adagio cantabile (4:17) III. Allegro (7:05) Composed: likely in the 1710s Source (mvt 1 & 3): I-Tn, Giordano 30, ff. 264-273 Source (mvt 2): D-Dl, Mus. 2389-O-70b Le Concert de la Loge, ‘Concerti per violino X: Intorno a Pisendel’ Julien Chauvin, violino solo e direzione Naïve OP7546
The beautiful slow movement was recorded by Amandine Breyer and Gli Incogniti several years ago, but no information was provided on it’s origin. Thank you for all the interesting details.
The odd thing is that the clean manuscript is the one that the messier one was copied off of (and not the messy manuscript being so because Vivaldi was composing it as he wrote it down in a fit of inspiration). BUT, the clean manuscript that the other one was copied off of doesn't look like a working manuscript at all. It's far too neat and thorough (such as in making sure to put in repeated dynamic indications and the heavy amounts of figures in the bass). Does that mean there is a 3rd manuscript that Vivaldi used to actually write it down as it came to him out there that he copied the shown manuscript off of? It seems likely. If so, why isn't that one in Vivaldi's personal folio, and why did he include such a nice fair copy instead?
@delvivaldi The slow movement is just heavenly! Have you come across the slow movement of RV 176 which is if anything even more beautiful? One of the most beautiful of all Vivaldi slow movements1 Please can you post that concerto!
I’ve been wanting to hear this concerto played in the baroque style since I only have the version by Accademia I Filarmonici performed by Alberto Martini on the Naxos label v.1. So, is the original adagio slow movement the one found in the Naxos recording? I wonder? Which is also the one heard in RV17a (sarabanda)?
Yes it is the one. (And when he made the copy that went to Dresden, Vivaldi changed a few notes in this movement. The original notes are seen to have been erased (rubbed off the page before the ink was dry) before being replaced. So that is how it is known that the Dresden manuscript is a copy of the original Turin one.)
Del Vivaldi.A a few negative things have been said about Vivaldi's character. I think his close association with Pisendel seems to suggest otherwise would you agree.
I've not heard that. I have heard he boasted about how quickly he could compose, which in reality could be either a positive or a negative. He seems to have met and been liked by numerous other composers, which does suggest he was at least personable!
Michael Talbot in his master musicians book on Vivaldi comments on Vivaldi's possible superiority complex and obsession with money. Though he does say we have scant information and much of that about his business affairs
Like all of us he must have had many sides to his personality. How he dealt with the aristocracy, or with matters related to the theater (which is mainly all that we know), does not tell us how he was in friendship. Or with his family (which he provided for). Or with la Girò (who loved him). He certainly seems to have struck a great friendship with Pisendel!
I feel like we really don't have enough info at all to judge Vivaldi's character or personality. We don't attempt to make these judgements on other composers with similarly scant personal info, but for some reason Vivaldi is a bit of a lightening rod. An interesting example is that Bach (who is also better researched than Vivaldi) is seen as pious and moderate, but often got into ego-driven scuffles not dissimilar to Vivaldi in his career. You could even argue that his youthful exploits and demeanor were more intractable than any of Vivaldi's stuff. I'm not necessarily making that argument, but I feel like people of that Bach-Vivaldi talent level get a little high-strung from people not recognizing their ability. It can get tiresome having to prove yourself over and over instead of being allowed to do just do your thing and be respected. On the money point, Vivaldi took a very keen interest in the business side of life, seeing it as seamless extension from his art. I'm not sure it approached the vapid, vain lust for money that it is sometimes portrayed as (usually based on only a few episodes in written correspondence). Vivaldi's business interest and slightly notable interest in money probably stem from two things. One, he was a largely freelance composer, working by selling music to people, working for (but not getting a full post with) royal patrons, teaching and supplying music at the Pieta, and composing Opera, and to help control his fate on that front, being an impresario. That career would get a lot of people looking at money in a new way. The other reason is that he was born into a pretty low class and even within that, into a family of low repute. I think his father is the exception, as he stayed out of trouble and was a respected violinist later in life. After Vivaldi's career took off, his father traveled with Vivaldi and was a copyist for him. Perhaps the two performed together. Over and over in that era, we see composers fight for respect from where the money and power laid--mostly in the hands of royal positions, and those in the uppermost class just below those with titles. You also see composers of lesser ability (and also less prolificacy and hard work at their art) such as the Marcello brothers, get respect much more easily than more talented men born into a lower station in life. Vivaldi's massive international popularity and impossible to ignore formal innovations (and to a degree, fiery, recognizable style) made his talent impossible to snub, but slights were always around the corner, even from the Pieta, which is now famous for the ages only for employing Vivaldi. It's pretty likely Vivaldi counted money as a tangible measure of success he could throw at this disrespect and skepticism shown towards him due to his class.
Pisendel was a great virtuoso 🔥🔥🔥🔥🔥
This music brims with the life force itself.
I'd like to take a moment to plug this album:
This is one of the best recordings of Vivaldi violin concerti to come around in years. The performance + sound are fantastic all around. The balance is perfect, the tone glows and the performance of the orchestra and especially the soloist are breathtaking and captured perfectly. The lineup of concerti isn't as idiosyncratic as you might imagine Vivaldi would get writing for a virtuoso of Pisendel's caliber, yet the works have a strange ability to draw you in and an almost addictive quality. Consider adding this one to your collection!
Too fast though
That middle section is soooo beautiful
Le Concert de la Loge is indeed extremely good. They're the best thing to have happened to the Vivaldi Edition for quite awhile, in my opinion.
i❤ vivaldi's composition
Magnifique, et merci encore pour le remarquable travail d'édition de la vidéo !
I am fall in love with this concerto ❣
This is a virtuoso concerto that could have made it to disc along with ‘Grosso Mogul’ and the like, except that it didn’t.
It is the first piece on a brand new album of the Vivaldi Edition featuring rare works, all with a Dresden/Pisendel connection. I’ve only just heard it, but it sounds like a return to form for the Vivaldi Edition. Enthusiasts should definitely look into it.
RV 314 vs RV 314a
This recording of RV 314 uses an alternate slow movement found only in a set of parts used as performing material for the Dresden court. This version of the concerto is known as RV 314a. It is unknown if the beautiful Adagio was inserted by the composer or by someone else, but apparently the authorship is not in dispute. (The original slow movement, not heard here, also appears as the third movement of sonata RV 17a.)
THE CADENZA
The third movement features a cadenza that is not notated. ‘Qui si ferma a piacimento.’ For some reason, on this particular recording they decided not to insert any candenza. Therefore the movement (and the work) ends just before the cadenza is supposed to start.
DATING
No attempt has been made to date the work as far as I know, but the Turin autograph is very consistent with the calligraphy of earlier operas such as Arsilda, or the oratorio Juditha (both 1716). This would seem at least plausible from my perspective. The last movement has a flash of ‘Grosso Mogul’ towards the end (9:21), but the strongest connection is with op. 9 no 10, 3rd movement (also in the key of G major).
THE SOURCE
The concerto is preserved in Turin and in Dresden in two autograph scores. Both bear a dediction ‘Per Monsieur Pisendel’. After a bit of thought, I have chosen to use the Turin score to make this video, since it is the ‘original’ that Vivaldi kept with him. It is also much more legible.
The Dresden manuscript, on the other hand, is in Vivaldi’s roughest handwriting. It is extremely similar in aspect to two other Vivaldi autographs in Dresden, the RV 237 and the RV 340 (aka ‘Per li coglioni’). It has been conclusively shown (by Ryom) that Vivaldi actually produced the Dresden score that he gave Pisendel by copying from the Turin one.
This shows once again that Vivaldi’s manuscripts are rarely what they seem, the rough manuscript being the copy, and the neat one the ‘original’, or something closer to the original.
I. Allegro (0:00)
II. Adagio cantabile (4:17)
III. Allegro (7:05)
Composed: likely in the 1710s
Source (mvt 1 & 3): I-Tn, Giordano 30, ff. 264-273
Source (mvt 2): D-Dl, Mus. 2389-O-70b
Le Concert de la Loge, ‘Concerti per violino X: Intorno a Pisendel’
Julien Chauvin, violino solo e direzione
Naïve OP7546
Thank you, never heard this!
When I think of 'for Pisendel', I think of the Concerto which also appears in Opus 8.
The beautiful slow movement was recorded by Amandine Breyer and Gli Incogniti several years ago, but no information was provided on it’s origin. Thank you for all the interesting details.
È la prima volta che l'ascolto! Lento e soprattutto decorato di virtuosismi multipli, molto gradevole all'ascolto! Vivaldi è veramente un gran genio!
The odd thing is that the clean manuscript is the one that the messier one was copied off of (and not the messy manuscript being so because Vivaldi was composing it as he wrote it down in a fit of inspiration). BUT, the clean manuscript that the other one was copied off of doesn't look like a working manuscript at all. It's far too neat and thorough (such as in making sure to put in repeated dynamic indications and the heavy amounts of figures in the bass). Does that mean there is a 3rd manuscript that Vivaldi used to actually write it down as it came to him out there that he copied the shown manuscript off of? It seems likely. If so, why isn't that one in Vivaldi's personal folio, and why did he include such a nice fair copy instead?
We are forever in your debt. Thank you for making this available and your comments are never less than fascinating.
@delvivaldi The slow movement is just heavenly! Have you come across the slow movement of RV 176 which is if anything even more beautiful? One of the most beautiful of all Vivaldi slow movements1 Please can you post that concerto!
I’ve been wanting to hear this concerto played in the baroque style since I only have the version by Accademia I Filarmonici performed by Alberto Martini on the Naxos label v.1.
So, is the original adagio slow movement the one found in the Naxos recording? I wonder? Which is also the one heard in RV17a (sarabanda)?
Yes it is the one. (And when he made the copy that went to Dresden, Vivaldi changed a few notes in this movement. The original notes are seen to have been erased (rubbed off the page before the ink was dry) before being replaced. So that is how it is known that the Dresden manuscript is a copy of the original Turin one.)
Tutti tempestuoso contrastando com o solo. O 2o mov é uma beleza em
pizicato, com o violino em canto solista
, ✨
1:05, 2:02, 8:00, 8:46, 9:51
Del Vivaldi.A a few negative things have been said about Vivaldi's character. I think his close association with Pisendel seems to suggest otherwise would you agree.
I've not heard that. I have heard he boasted about how quickly he could compose, which in reality could be either a positive or a negative.
He seems to have met and been liked by numerous other composers, which does suggest he was at least personable!
Michael Talbot in his master musicians book on Vivaldi comments on Vivaldi's possible superiority complex and obsession with money. Though he does say we have scant information and much of that about his business affairs
Like all of us he must have had many sides to his personality. How he dealt with the aristocracy, or with matters related to the theater (which is mainly all that we know), does not tell us how he was in friendship. Or with his family (which he provided for). Or with la Girò (who loved him). He certainly seems to have struck a great friendship with Pisendel!
I feel like we really don't have enough info at all to judge Vivaldi's character or personality. We don't attempt to make these judgements on other composers with similarly scant personal info, but for some reason Vivaldi is a bit of a lightening rod.
An interesting example is that Bach (who is also better researched than Vivaldi) is seen as pious and moderate, but often got into ego-driven scuffles not dissimilar to Vivaldi in his career. You could even argue that his youthful exploits and demeanor were more intractable than any of Vivaldi's stuff. I'm not necessarily making that argument, but I feel like people of that Bach-Vivaldi talent level get a little high-strung from people not recognizing their ability. It can get tiresome having to prove yourself over and over instead of being allowed to do just do your thing and be respected.
On the money point, Vivaldi took a very keen interest in the business side of life, seeing it as seamless extension from his art. I'm not sure it approached the vapid, vain lust for money that it is sometimes portrayed as (usually based on only a few episodes in written correspondence). Vivaldi's business interest and slightly notable interest in money probably stem from two things. One, he was a largely freelance composer, working by selling music to people, working for (but not getting a full post with) royal patrons, teaching and supplying music at the Pieta, and composing Opera, and to help control his fate on that front, being an impresario. That career would get a lot of people looking at money in a new way.
The other reason is that he was born into a pretty low class and even within that, into a family of low repute. I think his father is the exception, as he stayed out of trouble and was a respected violinist later in life. After Vivaldi's career took off, his father traveled with Vivaldi and was a copyist for him. Perhaps the two performed together. Over and over in that era, we see composers fight for respect from where the money and power laid--mostly in the hands of royal positions, and those in the uppermost class just below those with titles. You also see composers of lesser ability (and also less prolificacy and hard work at their art) such as the Marcello brothers, get respect much more easily than more talented men born into a lower station in life. Vivaldi's massive international popularity and impossible to ignore formal innovations (and to a degree, fiery, recognizable style) made his talent impossible to snub, but slights were always around the corner, even from the Pieta, which is now famous for the ages only for employing Vivaldi. It's pretty likely Vivaldi counted money as a tangible measure of success he could throw at this disrespect and skepticism shown towards him due to his class.
8:46 STILL can’t learn this passage