Luogo e data di registrazione		La Chaux-de-Fonds (Svizzera) - giugno 1977 (op. 6) La Chaux-de-Fonds (Svizzera) - maggio 1964 (op. 9, 1-4, 11) La Chaux-de-Fonds (Svizzera) - giugno 1964 (op. 9, 5,6,7-9) La Chaux-de-Fonds (Svizzera) - settembre 1964 (op. 8, 10,12)
	Registrazione: live / studio		studio
	Producer / Engineer		-
	Prima Edizione originale LP		Philips - 9500 438 - (1 LP) - durata 50' 01" - (p) 1978 - Analogico - (op. 6) Philips - 835 289/291 - (3 LP's) - durata 42' 44" | 41' 39" | 44' 14" - (p) 1965 - Analogico - (op. 9)
	Note		-

6 CONCERTOS, OP. 6 In 1716-17 the Amsterdam publisher Estienne Roger brought out three collections of instrumental music by Vivaldi, using the imprint of his daughter and heirdesignate Jeanne. These comprised a set of six sonatas, Op. 5, and two sets of concertos, one (Op. 6) containing six and the other (Op. 7) 12 works. The initiative for their publication almost certainly came from Roger, for had the project originated with the composer, he would surely have provided dedications for them, as he had done in Op. 3 and Op. 4 and was to do again in Op. 8 and Op. 9. The fact is that in the wake of the enormous, continent-wide success of Vivaldi’s first two collections of concertos there was an insatiable demand for his music which Roger would naturally be eager to satisfy. Although Vivaldi’s reputation had been founded on instrumental music, his field of activity had suddenly widened in the mid-1710’s to embrace both sacred vocal music and opera. The abrupt departure from the Pietà (the Venetian orphanage-cum-conservatoire where he held the positions of violin master and orchestral director) of its choirmaster Francesco Casparini meant that from 1713 until perhaps as late as 1717-18, when Vivaldi took up residence in Mantua, he was required to compose music for the chapel (his great oratorio “Juditha triumphans” dates from 1716). Concurrently, he was kept busy at the Sant’Angelo opera house as impresario and resident composer-arranger. During these years, therefore, instrumental composition must have been pushed somewhat into the background. Although the 6 concerti a cinque stromenti, Op. 6, pose no problems of authenticity, unlike some of their Op. 7 counterparts, the uncommonly numerous errors in Roger’s published parts are not all easy to correct. It is interesting that the figuring of the organo part (organo is a generic term for keyboard continuo instruments, embracing the harpsichord as well as the organ) faithfully expresses the intervals between the upper string parts and the bass - even when a bass note is clearly wrong; this suggests that Vivaldi himself was not responsible for the figuring and makes one wonder whether Roger acquired the manuscript of the concertos at second hand. Op. 6 is the first collection to present the Vivaldi concerto consistently in its “classic” form, the earlier published collections, Op. 3 and Op. 4, being rather heterogeneous in style and often betraying the influence of Corelli, Torelli, and Albinoni. All the Op. 6 works adopt the three-movement (fast-slow-fast) cycle; a single violin suffices as the solo instrument, and ritornello form is employed in all the outer movements except the finale of No. 3, a binary movement. Some variety is offered by the slow movements, three of which (in Nos. 1, 2, and 6) are scored for solo violin and continuo alone in the manner of a violin sonata, while the remainder feature chordal patterns on the orchestral strings connected by short passages of solo writing. Each work contains points of special interest. The opening movement of Concerto Mo. 1 in G minor is noteworthy for its fierce upbeat patterns, variously consisting of a single semiquaver, a run of three semiquavers, or a grand sweep of several notes, and the many fragmentary statements of its ritornello material. The framing ritornello, for continuo alone, of its siciliana-like second movement recalls that of an aria in a solo Cantata. The key of Concerto No. 2 in E flat is one especially remarked upon by Charles de Brosses, a French traveller who visited Venice in 1739, for being popular in Italy while virtually unused in France; Vivaldi was certainly fond of this key and chose it for 13 of his extant solo violin concertos. Transposed to C major, the first movement served as the basis of the second movement in the third of the ”Op. 13” (”Il pastor fido”) sonatas, which, although published under Vivaldi’s name in Paris in 1737, are his music only insofar as certain movements borrow material, freely adapted, from his concertos. The opening movement of Concerto No. 3 in G minor closely resembles the finale of the well-known Op. 3 No. 6 both in its turns of phrase and in the fact that the orchestral violins remain united in a single part. In the finale even the principal (i.e. solo) violin plays in unison with its fellows. Concerto No. 4 in D features in its opening movement note raddoppiate (rapid repeated notes); in music of the period these are particularly common in the keys of C and D major (as here and in the opening movement of Bach’s Fifth “Brandenburg” Concerto), since they are the keys of the natural trumpet, in association with whose repertoire the device first achieved popularity in the late seventeenth century. The best of the Op. 6 set is undoubtedly Concerto No. 5 in E minor, the outer movements of which resourcefully employ chromatic harmony (particularly so-called “Neapolitan” harmony produced by lowering the second degree of the scale). The second solo episode in the opening movement displays a characteristically Vivaldian trick; the superimposition of triplets in the solo part on duplets in the accompaniment. The last work, Concerto No. 6 in D minor is notable for some bold harmony verging on the bizarre. Its finale features jagged dotted rhythms - a style described elsewhere by the composer as "alla francese" (in the French manner). Michael Talbot 12 CONCERTOS, OP. 9 “LA CETRA” Antonio Vivaldi’s Op. 9 appeared in five part-books in the lists of the Amsterdam publisher Michel Charles Le Cene in 1728. The title page reads; “La CETRA / Concerti / Consacrati / Alla / Sacra / Cesarea, Cattolica Real Maestà / Di / Carlo VI / lmperadore / e Terzo Re delle Spagne / di Bohemia di Ungaria Ec. Ec. Ec. / Da D. Antonio Vivaldi / Musico di Violino, Maestro del Pio Ospitale / Della Città di Venetia et Maestro di Capella, / di Camera di S.A.S. M.Sig.r Principe / Filippo Langravio d’Hassia Darmistaht / Opera Nona.” The title “La Cetra” means approximately ”Lyre” and its meaning, applied to the concertos, is picturesque rather than a precise description, of course. The opus consists of 12 concertos for strings and continuo. Eleven of the concertos have a solo violin part and for two of these the violin is scordatura, i.e. tuned otherwise than normal, while one, in the manner of the concerto grosso, employs two solo violins. For the most part therefore we are dealing with violin concertos, which in their form and with regard to the concertante treatment, are already considerably richer than the earlier pieces of Op. 4. The slow central movements in particular give the solo violin ample scope for cantabile and richly ornamented playing, and in general these solo parts offer difficulties which were to be equalled only a generation later in the works of Giuseppe Tartini. The first and last movements of the Concerto No. 1 in C rely mainly on effects of sonority and rhythmic drive. The introductory tutti is comparatively broadly set up, and its characteristic parts are cleverly used several times as linking elements. The solo violin indulges in a rich variety of figures although the motives of the ritornello are, on the whole, preserved. The C minor Largo is a cantabile, sarabande-like movement, devoted entirely to the solo instrument and employing only cello and organ for the accompaniment. The final Allegro in 3/8 measure resembles a gigue, with the solo voice executing some supple arabesques between tuttis which are notable for their elaborateness and their habit of oscillating between forte and piano dynamics. The Concerto No. 2 in A starts off with a 12-bar theme of “Venetian” character stated in unison. There is great variety in the accompaniment given to the solo part: high register strings - violins and violas - working unisono alternate with cello voices. These two styles of accompaniment, higly different in effect, are introduced according to the register of the solo voice, violins and violas backing it during high-register passages, cellos in low-register or “echo” (piano) passages. In the Largo, too, the accompaniment is unusual. A dark tone is achieved by omitting the violins altogether in the tuttis, while in the solo passages, cello and organ provide the accompaniment. The last movement is vivacious and dance-like. Its flexibility and transparency originate in the three-part string writing of the tuttis. In the solos the violin’s accompaniment is each time only one voice, either the high strings in unison or the cello. In the Concerto No. 3 in G minor the 16-bar ritornello of the first movement is divided into two parts. The first part offers a tightly worked motive, full of suspended notes, the second a predominantly vocal motive on a simple chord foundation which all the violins play together. A variation of this motive is now taken up by the solo violin and prolonged in passage-work and decoration. The Largo belongs entirely to the solo violin. It begins with a melancholy theme, accompanied by the higher strings in an ostinato quaver motive - cellos, double bass, and organ are silent in this movement - and the solo voice then launches into some athletic excursions. The third movement is a virtuoso showpiece, with large areas consecrated to some dazzling solo fireworks. The solo violin is supported by one cello only, so that the contrast between solo and tutti parts is particularly striking. The Concerto No. 4 in E is exceptionally translucent. Twothirds of the first movement are given to the solo violin, with accompaniment from the higher strings. This assures an eerily floating effect, a certain weightlessness that matches the cantilena and figurations of the solo instrument to perfection. In the Largo the ostinato-style ritornello is executed by violas, cellos, and double-bass (without the organ), while the accompaniment to the solo part is played by violas only. In this movement, too, the solo violin goes entirely cantabile. The last movement is luminous and energetic. Transparency in the ritornelli is achieved by much two and three-part writing, careful regard for sonorities, and other devices; and in one of them, the relative minor is strongly established. The solo violin revels in many rhythmic and figurative variations sometimes capricious, sometimes cantabile, but preserves throughout a light touch. The Concerto No. 5 in A minor is the-only one in this series to diverge slightly from the usual straightforward three-movement scheme. A five-bar Adagio introduction is placed before the first movement, a storming Presto, and a solo-dominated Largo follows immediately after the Presto. The final movement is an Allegro in 4/4 that, from its character, could equally well figure as a first movement. In this last movement a perfect equilibrium is maintained between the solo and tutti parts, but in the earlier Presto the solo instrument is given decided pre-eminence. As is usual in concertos of this period, the solo instrument effects the modulations to neighbouring tonalities and these are consolidated each time by the balancing ritornello. The first bars of the Largo are interesting: they form a harmonic cadenza which is ornamented by the solo violin and this episode really stands in place of the usual introductory ritornello. It is followed by the cantilena of the solo violin, accompanied in unison and piano by the higher strings. In the Concerto No. 6 in A the principal violin is employed with scordatura. By Vivaldi’s time, scordatura had become a favourite means either of extending the compass of a stringed instrument or of permitting it to play unusual chords, arpeggios, double, triple, and quadruple stoppings or figurations with open strings according to the chosen tonality. In this concerto the tuning prescribed is a - e' - a' - e" for the solo violin, the other violins being tuned normally. For the solo violin this implies a one-tone transposition for all tones played on the two lower strings. Formally, the first movement is characterised by the broadly-framed introductory ritornello; but the solo part is here shaped with greater caprice and virtuosity than in the other concertos. The violin’s new compass is utilised to its full in passage-work and ornamentation, but the motivic base is well preserved meanwhile, the more so as it is properly represented in the accompaniment. The ensuing Largo is similarly formed. The French overture rhythm of the first tutti is maintained during almost the entire movement. The final movement in light, pastoral vein is in 12/8, with a suppression of the virtuoso element in favour of a long, very intimately conceived solo episode in the relative minor. In the Concerto No. 7 in B flat the first and last movements are conventionally styled. The first movement passes through effective modulations, particularly in the solo episodes, while the third movement is distinguished by its clever work in the accompanying motives. Both movements feature in common a tight contrapuntal interweaving of ostinato motives. The Largo is fashioned in an original way; the rhythmically uniform, cantabile line of the solo violin is accompanied by a regular quaver movement, shared by violins and violas. The Concerto No. 8 in D minor is opened by a beautifully textured motive shared by high and low strings. The same concern for sonorities characterises the figurations of the solo violin, which presents us with triads, thirds, and rich passage-work, a concern pursued in the Largo where the accompaniment to the solo voice is particularly fine. This gracefully devised movement is, like the first and last movements, in D minor. The finale opens very decidedly, and solemnly. The ritornello, brought back five times, though not always in full, is kept in three parts and is thus very transparent. The figurated solo violin part plays mostly over a simple bass accompaniment. With its two obbligato violins the Concerto No. 9 in B flat is a true concerto grosso. Here too, the transparency and flexibility of three-part writing is maintained over long stretches. The trio-like element is heard at best in the solo passages, where the two solo violins are allowed alternate access to the motives, supported by a cello that forms a sparse bass line. The first Allegro is well balanced in the proportions allotted the solo and tutti parts. In the ritornello the final motive, repeated in the manner of an echo, is extremely attractive. The second movement, Largo e spiccato, is a model of its kind. A rather large ritornello, given in full at the beginning of the movement and brought back in briefer form to mark the modulatory points, supports spiccato chords that, in particularly resonant concert-rooms and played with a large orchestra, achieve splendid effect. The final Allegro is gigue-like and moves flexibly through phrases of well-balanced tension and relaxation. In the sonorous first movement of the Concerto No. 70 in G the semiquaver passages in the cellos contrast with the broken triads of the violins. A four-bar trio group, kept piano, provides an attractive inner contrast within the broadly framed introductory ritornello. Two rather large solo passages, one on the tonic, the other on the dominant, allow arpeggios to the principal voice over pedal bass-notes, while the rest of the strings share in an octave motive of quaver value. The middle movement, Largo cantabile, is a sort of serenade. The simple, well-rounded cantilena of the solo violin arises over the continuous pizzicato accompaniment of the violins and violas, lower strings and organ being omitted. In the third movement the most varied thematic fragments are welded into a convincing whole. A dotted opening motive is followed by a cantabile insertion. This same event is repeated in the dominant. Then comes a sharp sequence to be followed again by a cantabile section which prepares for the entrance of the solo violin. The solo part takes up motives of the ritornello and develops them further, and through them finds opportunity for virtuoso stunts and rich modulation. The first and last movement of the Concerto No. 11 in C minor are worked in tight four-part writing. In both, all devices - tonality, lightly-sketched fugal treatment, scalwork - are traceable manifestations of the Baroque “science of composition” based on treatment of the "affection." The Adagio starts with a ritornello of quaver chords, in which two chords played forte are followed by two piano. In the middle of the movement the solo voice is allowed expressive play. In the third movement the characteristic turn of the Neapolitan sixth chord, can be recognised in the introductory and final ritornelli. The four lengthy solo passages are dramatically related: each develops its predecessor in point of intensity of argument and expansion of the material. The Concerto No. 12 in B minor again demands (like No. 6) scordatura for the solo violin. This time the tuning is b - d' - a' - d", in keeping with the B minor tonality. In the two quick movements the solo part is given rich virtuoso material. Apart from the customary figures and accompaniment there is, in the first movement, a rather long solo passage with unusual further parts: second violins and violas execute the quaver accompaniment and the first violins play the principal melody while the solo violin adds virtuoso arpeggios. The Largo subsists entirely on motives played in unison. The whole orchestra takes part in the tutti and for the accompaniment of the solo violin only the high strings are used. The solo violin offers double-stoppings and an ornamented cantilena. The last movement is lucidly transparent. Three-part writing, chordal quaver accompaniment by the higher strings in the solo passages, and rhythmically taut motives are especially favoured. Here, as in the first movement, certain unusual effects of violin technique appear, of the kind Tartini was to exploit later. Franz Giegling