Vivaldi x2 – Double Concertos

Author: 
Charlotte Gardner
AV2392. Vivaldi x2 – Double ConcertosVivaldi x2 – Double Concertos

Vivaldi x2 – Double Concertos

  • Double Concerto for 2 Oboes and Strings
  • Double Concerto for 2 Oboes and Strings
  • Double Concerto for 2 Horns and Strings
  • Double Concerto for 2 Horns and Strings
  • Double Concerto for Oboe, Bassoon and Strings
  • Double Concerto for Violin, Cello and Strings
  • Double Concerto for Violin, Cello and Strings
  • Concerto for Multiple Instruments

Anyone familiar with La Serenissima’s zestily elegant Four Seasons (10/15) will be aware that these musicians represent one heck of a crack team when it comes to the music of Vivaldi. Indeed, last year they carried off a Gramophone Awards for their multi-composer assortment of sinfonias and concertos, ‘The Italian Job’ (5/17).

‘Vivaldi x2’ presents a medley of double concertos for hunting horns, oboes, bassoon, violin and cello, and it’s a feast of pleasures right from its RV539 kick-off: the most glittering of Vivaldi’s two double horn concertos, featuring some of the highest-tessitura horn-writing in the entire Baroque and headed up here by soloists Anneke Scott and Jocelyn Lightfoot with some fantastically nimble, neat, exuberant period horn playing.

That high tessitura also allows RV539 the relative novelty of a slow movement for which the horns can stick around. However, you’ll forget to miss the horns here in the other concerto, RV538, because what we get instead is another soloist to whom I could listen all day, cellist Vladimir Waltham; hear his gently grainy, luminous tone and his sighing trills, and fall in love. Plus, that tone acts as a perfect foil for the silkier sound coming from director Adrian Chandler’s violin in the violin-and-cello concertos RV546 and RV547.

Balance is always satisfying, too. Soloists-wise, we have horns distinct from but evenly weighted with the orchestra, bassoons further forwards than the bright-toned oboes, and the strings properly forwards so as to really appreciate their timbres. Continuo is also nicely judged; returning to RV538’s slow movement, I love the way they move from unobtrusive support one moment (and the harpsichord always remains delicately in the back of the sound) to the bass stepping up to meld and tonally blend with Waltham’s hung suspensions, and the theorbo using opportune moments to poke invitingly through. Bravissima, La Serenissima. Again.

Gramophone Subscriptions

From£67/year

Gramophone Print

Gramophone Print

no Digital Edition
no Digital Archive
no Reviews Database
no Events & Offers
From£67/year
Subscribe
From£67/year

Gramophone Reviews

Gramophone Reviews

no Print Edition
no Digital Edition
no Digital Archive
no Events & Offers
From£67/year
Subscribe
From£67/year

Gramophone Digital Edition

Gramophone Digital Edition

no Print Edition
no Reviews Database
no Events & Offers
From£67/year
Subscribe

If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.

© MA Business and Leisure Ltd. 2018