In 1997 Duilio Galfetti became a member of the Swiss-Italian Radio Symphony Orchestra and founded the acclaimed early music ensemble I Barocchisti with Diego Fasolis. The Op.6 is pure Vivaldi, frenetic, virtuoso, in all his energy and joy. Over this period, as an accomplished lutenist as well as violinist, he made a number of major recordings for Teldec, including Bach’s Brandenburg Concertos, and Vivaldi’s complete mandolin and lute concertos, which were enthusiastically received by the critics and won numerous awards (Diapason d’Or, Choc du Monde de la Musique, and a Gramophone Award). Vivaldi's Op.6, this series of 6 violin concertos, is not a mostly known feature for average people, but it's a brilliant group of concertos, in which pops the 'Vivaldiness' (as to say) in its most typical way. Galfetti started a long collaboration with the Milanese Baroque ensemble Il Giardino Armonico. They perfectly display Vivaldi’s inimitable genius for fashioning strong musical identities in next to no time.Īfter obtaining his diploma in violin from the Dreilinden Conservatory of Lucerne in the class of Gunars Larsens in 1989, Duilio M. The recording features two of Vivaldi’s favourite violin concertos, RV210 and RV333, several sequences from RV333 are used in other compositions, notably the slow movement which recurs in RV556. The set was first published in 1719 in Amsterdam. The violin concertos in this volume have been chosen specifically to reflect the strong influence of dance on the music of the composer. 6, is a set of concertos written by Antonio Vivaldi in 17121715. Armed with a wealth of historical knowledge of the background to these concertos, he has cleverly divided them by theme. Vivaldi violin scholar Olivier Fouré continues to assist Naïve in giving coherence to the awesome task of recording some 90 violin concertos written by Vivaldi. Multi award-winning violinist Duilio Galfetti is accompanied by acclaimed early music ensemble I Barocchisti under the direction of Diego Fasolis. Vivaldi: Concerti per violino X Intorno a Pisendel Julien Chauvin. Naïve releases the third volume dedicated to Vivaldi’s violin concertos in its ground breaking project, the Vivaldi Edition. 77 - Tchaikovsky: Violin Concerto in D Major. This set is certainly recommended as a fine example of a modern view of Baroque performance – and it sounds even better on SACD. No 8 in D minor is perhapsthe wildest concerto of the lot, with its extraordinary lines in the first movement, the passionate, mysterious outer sections in the second and the powerful and original figuration inthe finale: that one has a performance to leave you breathless.Īnother thing Podger is specially good at is the shaping of those numerous passages of Vivaldian sequences, which can be drearily predictable, but aren't so here because she knows just how to control the rhythmic tension and time the climax and resolution with logic and force. But perhaps even more enjoyable isthe exquisitely fine detail of some of the slow movements. There are plenty of movements here where her sheer digital dexterity is astonishing – for instance, the finale of No 6, with its scurrying figures, the second movement of No 7 or the finale of No 2 with its repetitive figures and leaping arpeggios. That said, however, these performances by Rachel Podger are crackling with vitality and executed with consistent brilliance as well as a kind of relish in virtuosity that catches the showy spirit, the self-conscious extravagance, of this particular set of works. And they aren't helped by the resonant acoustic of the church in Poland used for the recording, which produces a full and bright sound but a boomy bass and less clear a texture than might be ideal. But anyone who's admired earlier recordings with period instruments may find these a little extravagant and hard-hitting. Perhaps here it's intended to reflect Vivaldi's own notorious freedom of performance. Écoutez en illimité ou téléchargez Vivaldi : Concerti per violino VI 'La boemia' de Fabio Biondi, Europa Galante en qualité Hi-Res sur Qobuz. There's a current trend in Baroque performance to get away from the cool- ness and objectivity which for a long time were supposed (on the whole, mistakenly) to be a part of performing practice of the time, but possibly the pendulum has swung a little wildly the other way. Still less so in performances as high in voltage as the present ones. It's heady music, and listening to its 12 concertos at a sitting, isn't a mode of listening one would recommend. $ īy the standards of the average Vivaldi violin concerto, the La stravaganza set is quite extravagant stuff, full of fantasy and experiment – novel sounds, ingenious textures, exploratory melodic lines, original types of figuration, unorthodox forms.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |