I have this recording. Vivaldi is so much more than the "Four Seasons" and the "Gloria!" RV 555, also for multiple instruments, is perhaps even more delightful and I have a fondness for the two concertos, RV 559 & 560, for 2 oboes and two clarinets.
Just found this recording on YT after watching this video, and thank you for bringing it to my attention...the variety of timbre is so refreshing and if that 2nd movement doesn't give you the 'concrete image' of Venice, nothing else will!
David - every time you mention Vivaldi, it make me happy. I am I die-hard Mahler-Brucker-Beethoven guy. But years ago I started listening to the Vivaldi Edition albums and I totally fell in love with Vivaldi. The "fagotto" (bassoon) concerti are to die for (but all albums are great). If one day you want to review the VE, i would be glad to help! (And, more Biber please).
(Searches Imslp to count Vivaldi bassoon concerti...) Now that's a clump! Surely some of them have to be discussed. There could also be an idea for an ideal Vivaldi wind concerti, one for each instrument.
Thank you so much for reminding me of this wonderful work! There's an absolutely joyous version of this by Il Giardino Armonico with more Vivaldi lute and mandolin music. It's a baroque banger!
Another great "non-clump" Vivaldi piece is RV95, La Pastorella, a chamber concerto for recorder, oboe, bassoon, violin, and continuo. Charming and rustic.
Gotta love RV 558! I first heard it via the Scimone recording, along with those piquant mandolin concerti. Wonderfuul. Last Summer was my "Vivaldi Summer" due to a purchase of Brilliant's mammoth Vivaldi Edition. Not the complete works, of course; that would take up a whole wall of my modest residence. In any case, the lion's share of ensemble music in that collection was given to a period group, L'Arte del Arco, which, despite some occasional imperfections, gave me a whole new slant on the composer. I Musici now sounded stodgy, and even Scimone's group paled in comparison. L'Arte del Arco, under the direction of one Signor Gugliemo gives us a Vivaldi so zippy one wants to get up and dance. Which may be exactly what the composer intended. That Brilliant box also includes a whole lot of chamber, vocal, and sacred music, most of which is very well performed according to HIP parameters. I recommend it to any listener who wants to hear Vivaldi "outside of the box," so to speak.
@@DavesClassicalGuide I usually prefer modern to period instruments, but, for whatever reason L'Arte del Arco captivated my senses with their playful abandon. There are mellower period instrument performances of Vivaldi, to be sure. I like Pinnock particularly. Oh well, we'll have to agree to disagree on this one.
I like L'Arte dell'Arco's performances here as well. I don't have the whole "edition," but I do have selections, including the boxed published works (opp.1-12 and the "first" six cello sonatas) and the lute-mandolin works (missing RV 558 on the original 1-disc release in favor of a reconstructed harpsichord concerto, I suspect because they didn't have sufficient soloists on hand for that recording session). I also own a heap of the old I Musici Vivaldi recordings, including their original opp.1-12 series. I agree. I still love those as well, but tend to visit L'Arte dell'Arco more often when I want to enjoy "lively" interpretation.
@@eugenebraig413 Thanks for the feedback, Eugene. From your list, I'd say you own all of the L'Arte del Arco recordings made by Brilliant. I don't here their timbre as scratchy or emaciated, though sometimes they bear down own their instruments very hard indeed. The overall sonority, especially given their huge battery of continuo instruments, is quite enchanting. I used to own the big I Musici Vivaldi reissue box, but gave it up in favor of the Brilliant box plus other, more limited, Vivaldi collections (Pinnock, ASMF/Marriner, Scimone). As you can tell, I love Vivaldi and find him to be one of the most creative and original musical minds of his era (contra the old stereotype that he wrote "one concerto 500 times").
@@davidaiken1061, agreed. Cheers! Unlike perhaps Haydn's or Mozart's orchestral music, Vivaldi is one I think to be well served by the early-music movement. Sometimes "stodgy" (to use your word) in full orchestra, perhaps somewhat less so in chamber orchestra, but appropriately sprightly when scaled down and HIP-ified, especially when lute relatives are incorporated in continuo. This, of course, is my opinion and shouldn't be taken as prescription for others. My Vivaldi collection is pretty expansive, including much more than that discussed here.
A plucker, I have (or have had) piles of recordings of RV 558 on my shelves, including this. My personal favorite at present may be Europa Galante's under Biondi. I think the weirdest effort at this may have been Bernstein's. It always strikes me as wacky to hear Vivaldi in a big, lush romantic/modern orchestra. Wacky. RV 93 was originally a chamber concerto for "leuto" and just a few bowed-string instruments. Nobody is exactly certain what instrument Vivaldi had in mind in designating "leuto" (i.e., an alternative spelling of "liuto" or, in English, "lute") in his three chamber works to do so (RV 82, 85, and 93), but I suspect it was some lute relative that sounded an octave lower than the era's mandolin relatives. Taking those solo lines with mandolins sounds to me to be too crowded the soprano register and to leave too great a gap between soprano and bass. I could go to greater length, but this comment is already more than any rational person would care to give this discussion. Carry on.
Dear David, I recently discovered your canal which I find extremely interesting and full of fabulous information. I fully share your view that Handel and Haydn are among the best composers ever. But I am surprised to see that you have devoted up to now view videos to Vivaldi which I, personally, consider equal to them. Maybe, you have not yet explored him so much ? What about his operas (almost as extraordinary as Handel's), his religious music (Stabat Mater, Dixit Dominus, Gloria, Domine ad adjuvandum me festina ...), his concertos (in particular for cello or bassoon) ? The books by Michael Talbot on Vivaldi are also of particular interest.
There are only so many hours in the day. You might want to consider all the music that I HAVE discussed over only 2 1/2 years and 1700 videos, as opposed to that which I haven't yet had time to do.
@@DavesClassicalGuide Of course, David, and what you do is fully appreciated. But our choices in limited time are always an expression, conscious or not, of our preferences. So, when you have time, please do not forget Vivaldi : he fully deserves our love and consideration ! Kind regards, Philippe (a lover of Renaissance, baroque and classical music, from Paris).
Видеоклипы
RV 558 is one of Vivaldi's best concertos 🎶🎵
Thank you so much for this EXCELLENT and WONDERFUL video 👍👍
I have this recording. Vivaldi is so much more than the "Four Seasons" and the "Gloria!" RV 555, also for multiple instruments, is perhaps even more delightful and I have a fondness for the two concertos, RV 559 & 560, for 2 oboes and two clarinets.
Just found this recording on YT after watching this video, and thank you for bringing it to my attention...the variety of timbre is so refreshing and if that 2nd movement doesn't give you the 'concrete image' of Venice, nothing else will!
David - every time you mention Vivaldi, it make me happy. I am I die-hard Mahler-Brucker-Beethoven guy. But years ago I started listening to the Vivaldi Edition albums and I totally fell in love with Vivaldi. The "fagotto" (bassoon) concerti are to die for (but all albums are great). If one day you want to review the VE, i would be glad to help! (And, more Biber please).
A second vote for Vivaldi's bassoon pieces. Wonderful stuff.
(Searches Imslp to count Vivaldi bassoon concerti...) Now that's a clump! Surely some of them have to be discussed. There could also be an idea for an ideal Vivaldi wind concerti, one for each instrument.
I love "RV 484", Vivaldi Bassoon concerto in E minor
@@qnebrasame here!
Thank you so much for reminding me of this wonderful work! There's an absolutely joyous version of this by Il Giardino Armonico with more Vivaldi lute and mandolin music. It's a baroque banger!
Another great "non-clump" Vivaldi piece is RV95, La Pastorella, a chamber concerto for recorder, oboe, bassoon, violin, and continuo. Charming and rustic.
Gotta love RV 558! I first heard it via the Scimone recording, along with those piquant mandolin concerti. Wonderfuul. Last Summer was my "Vivaldi Summer" due to a purchase of Brilliant's mammoth Vivaldi Edition. Not the complete works, of course; that would take up a whole wall of my modest residence. In any case, the lion's share of ensemble music in that collection was given to a period group, L'Arte del Arco, which, despite some occasional imperfections, gave me a whole new slant on the composer. I Musici now sounded stodgy, and even Scimone's group paled in comparison. L'Arte del Arco, under the direction of one Signor Gugliemo gives us a Vivaldi so zippy one wants to get up and dance. Which may be exactly what the composer intended. That Brilliant box also includes a whole lot of chamber, vocal, and sacred music, most of which is very well performed according to HIP parameters. I recommend it to any listener who wants to hear Vivaldi "outside of the box," so to speak.
Zippy, and scratchy, and anemic, and ice cold. Nothing of what the composer intended, I think we can say pretty surely.
@@DavesClassicalGuide I usually prefer modern to period instruments, but, for whatever reason L'Arte del Arco captivated my senses with their playful abandon. There are mellower period instrument performances of Vivaldi, to be sure. I like Pinnock particularly. Oh well, we'll have to agree to disagree on this one.
I like L'Arte dell'Arco's performances here as well. I don't have the whole "edition," but I do have selections, including the boxed published works (opp.1-12 and the "first" six cello sonatas) and the lute-mandolin works (missing RV 558 on the original 1-disc release in favor of a reconstructed harpsichord concerto, I suspect because they didn't have sufficient soloists on hand for that recording session).
I also own a heap of the old I Musici Vivaldi recordings, including their original opp.1-12 series. I agree. I still love those as well, but tend to visit L'Arte dell'Arco more often when I want to enjoy "lively" interpretation.
@@eugenebraig413 Thanks for the feedback, Eugene. From your list, I'd say you own all of the L'Arte del Arco recordings made by Brilliant. I don't here their timbre as scratchy or emaciated, though sometimes they bear down own their instruments very hard indeed. The overall sonority, especially given their huge battery of continuo instruments, is quite enchanting. I used to own the big I Musici Vivaldi reissue box, but gave it up in favor of the Brilliant box plus other, more limited, Vivaldi collections (Pinnock, ASMF/Marriner, Scimone). As you can tell, I love Vivaldi and find him to be one of the most creative and original musical minds of his era (contra the old stereotype that he wrote "one concerto 500 times").
@@davidaiken1061, agreed. Cheers! Unlike perhaps Haydn's or Mozart's orchestral music, Vivaldi is one I think to be well served by the early-music movement. Sometimes "stodgy" (to use your word) in full orchestra, perhaps somewhat less so in chamber orchestra, but appropriately sprightly when scaled down and HIP-ified, especially when lute relatives are incorporated in continuo. This, of course, is my opinion and shouldn't be taken as prescription for others. My Vivaldi collection is pretty expansive, including much more than that discussed here.
A plucker, I have (or have had) piles of recordings of RV 558 on my shelves, including this. My personal favorite at present may be Europa Galante's under Biondi. I think the weirdest effort at this may have been Bernstein's. It always strikes me as wacky to hear Vivaldi in a big, lush romantic/modern orchestra. Wacky.
RV 93 was originally a chamber concerto for "leuto" and just a few bowed-string instruments. Nobody is exactly certain what instrument Vivaldi had in mind in designating "leuto" (i.e., an alternative spelling of "liuto" or, in English, "lute") in his three chamber works to do so (RV 82, 85, and 93), but I suspect it was some lute relative that sounded an octave lower than the era's mandolin relatives. Taking those solo lines with mandolins sounds to me to be too crowded the soprano register and to leave too great a gap between soprano and bass. I could go to greater length, but this comment is already more than any rational person would care to give this discussion. Carry on.
Dear David, I recently discovered your canal which I find extremely interesting and full of fabulous information. I fully share your view that Handel and Haydn are among the best composers ever. But I am surprised to see that you have devoted up to now view videos to Vivaldi which I, personally, consider equal to them. Maybe, you have not yet explored him so much ? What about his operas (almost as extraordinary as Handel's), his religious music (Stabat Mater, Dixit Dominus, Gloria, Domine ad adjuvandum me festina ...), his concertos (in particular for cello or bassoon) ? The books by Michael Talbot on Vivaldi are also of particular interest.
There are only so many hours in the day. You might want to consider all the music that I HAVE discussed over only 2 1/2 years and 1700 videos, as opposed to that which I haven't yet had time to do.
@@DavesClassicalGuide Of course, David, and what you do is fully appreciated. But our choices in limited time are always an expression, conscious or not, of our preferences. So, when you have time, please do not forget Vivaldi : he fully deserves our love and consideration ! Kind regards, Philippe (a lover of Renaissance, baroque and classical music, from Paris).
@@philippecassagne3192I strongly agree 👍👍
MORE Vivaldi 🎶🎵