Vivaldi's Dixit Dominus, RV 807, was added to the Vivaldi canon only in 2005; it was long attributed to Baldassare Galuppi. That shows you how minor composers don't get their due; it's a marvelous work, but it's only getting recordings now that Vivaldi's name is attached to it. At any rate, it's well worth hearing in this excellent performance by the rising British group La Nuova Musica, which has both vocal and instrumental components. They move like a well-oiled machine, making possible the clear communication of such vivid details as the musical depiction of a stream in the strings in the countertenor aria De torrente in via bibet (track 8) and the unusually elaborate fugue that concludes the work.
The monumental Vivaldi series on France's Naïve label rolls on with this gorgeous disc of somber sacred music, some of it instrumental. Part of the attraction of this series, based on a collection of Vivaldi manuscripts held at the University of Turin, is that so much of the music is unknown; the listener has the experience of seeing new masterworks unfurled at every turn. Consider the "Tunc meus fletus" aria from the opening solo motet (really more of a solo cantata) In furore iustissimae irae, RV 626, rendered here with truly tortured intensity by the dazzling French soprano Sandrine Piau.
Soprano Simone Kermes sings a variety of repertoire from the Baroque to the Romantic, but it's in the Baroque where she has made the strongest impact, and she shines in this album of Vivaldi opera arias and solo cantatas. The recordings are culled from two earlier Deutsche Grammophon Archiv releases, Amor Profano and Amor Sacro, so fans of the singer who already own those albums would not be getting new material with this one. For other listeners, though, it's an attractive selection that showcases Kermes' versatility, as well as Vivaldi's.
The English, historical-instrument, Baroque ensemble La Serenissima (the term was a nickname for the city of Venice) has specialized in somewhat scholarly recordings that nevertheless retain considerable general appeal, and the group does it again with this release. The program offers some lesser-known composers, and some lesser-known pieces by famous composers like the tiny and fascinating Concerto alla rustica for two oboes, bassoon, strings, and continuo, RV 151. What ties the program together formally is that it covers a range of Italian cities that were becoming cultural centers as they declined in political power: not only Venice (Vivaldi, Albinoni, Caldara), but also Padua (Tartini), Bologna (Torelli), and Rome (Corelli). There are several works by composers known only for one or two big hits, and these are especially rewarding. Sample the opening movement of Tartini's Violin Concerto E major, DS 51, with its unusual phrase construction and daringly chromatic cadenza passage: it has the exotic quality for which Tartini became famous, but it does not rely on sheer virtuosity. That work is played by leader Adrian Chandler himself, but he also chooses pieces for a large variety of other solo instruments: the Italian Baroque was about more than the violin. Each work on the album has something to recommend it, and collectively the performances may make up the best album of 2017 whose booklet includes footnotes.
This 2-CD set puts together Vivaldi's all nine surviving cello sonatas. Vivaldi may have composed more sonatas for cello for all we know, but this is all we have left. And it is a wonderful legacy, although less known than his violin concertos, for example. Compared with the violin concertos, many of which sound rather run-off-the-mill, these sonatas sound more thoughtful and meditative.
John Christopher Williams is an Australian virtuosic classical guitarist renowned for his ensemble playing as well as his interpretation and promotion of the modern classical guitar repertoire. In 1973, he shared a Grammy Award in the Best Chamber Music Performance category with fellow guitarist Julian Bream for Julian and John (Works by Lawes, Carulli, Albéniz, Granados).Guitar historian Graham Wade has said: "John is perhaps the most technically accomplished guitarist the world has seen."
Julia Lezhneva, Franco Fagioli and Diego Fasolis: three stars of the Baroque unite to record Vivaldi’s most popular choral work.
In 1705, Giuseppe Sala published in Venice the Suonote do 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 27-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.