Vivaldi L'Estro Armonico
View record and artist detailsRecord and Artist Details
Composer or Director: Antonio Vivaldi
Label: Denon
Magazine Review Date: 8/1989
Media Format: CD or Download
Media Runtime: 109
Mastering:
DDD
Catalogue Number: CO-72719/20
Tracks:
| Composition | Artist Credit |
|---|---|
| (12) Concerti grossi, '(L')estro armonico' |
Antonio Vivaldi, Composer
(I) Solisti Italiani Antonio Vivaldi, Composer |
Author: John Duarte
If I may remind those who do not keep Vivaldi's oeuvre at their fingertips, the 12 concertos of L'estro armonico fall into four groups of three: one for each of four (Nos. 1, 4, 7, 10) two (Nos. 2, 5, 8, 11) and one (Nos. 3, 6, 9, 12) violins, to five of which (Nos. 1, 2, 7, 10, 11) a solo cello is added. The only other integral recordings to have appeared in the last five years have been those by The English Concert (DG) and the Academy of Ancient Music (L'Oiseau-Lyre), both played on period instruments and thus not comparable with the present one by I Solisti Italiani. In his review of I Musid's original Philips LP issue (12/84) Lionel Salter much preferred the version by the ASMF on Argo to that of I Musici, but since it has not yet found its way on to CD we are left with a straight comparison between I Solisti and I Musici.
The former spring into an early lead in the first of the 22 Allegros, brighter, crisper and, aided by sharp dynamic contrasts, with the permutations of the four soloists sharply pointed. John Borwick commented (5/85) on I Musici's ''relatively unsparkling approach'' and indeed this is true of many (though not all) of the faster movements; though I Solisti's tempos are rarely all that much the brisker they frequently generate a stronger sense of propulsion. In the second Allegro of Concerto No. 9 it is I Musici who set the (slightly) faster pace but it is I Solisti who bring it to life, and Giulio Franzetti sounds rather more comfortable than Pina Carmirelli for I Musici. Yet in the final movement of No. 6, perhaps recorded on a different day, Carmirelli is not one whit less brilliant and dexterous than Giovanni Guglielmo (I Sousti), despite the breathless pace—Presto indeed!
Carmirelli is in fact on duty in all 12 concertos, whereas I Solisti spread the workload; three players share the four solo concertos. An important factor in the difference between the two ensembles in the quicker movements is that of crispness: LS commented that in these recordings I Musid are tardier than the ASMF in detaching their bows from the strings, and on this count they also take second place to I Solisti; two Allegros, No. 1/I and No. 6/I, will suffice to make the point. In the slow movements where the score gives the clear instruction (spiccato) I Musid are as ready as anyone to leave air between their notes, but in the quicker ones they do not always perceive the need for it. I Solisti's slow movements are beautifully handled (as are most of I Musici's), notably No. 11/II—of which LS complained, I Solisti take it more slowly (c. 88 versus 108) and invest it with gentle pathos. The harpsichordist gets his fair share of the decibels in both recordings but it is Eduardo Farina (with I Solisti) who is the busier, inter alia filling the silences in No. 2/III—which, I feel, neither invite nor take too kindly to such intrusions.
There is much splendid playing by soloists and ripieno in both sets (both superbly recorded), but I Solisti emerge clear overall winners of this two horse race. Denon place six concertos on each disc, and conveniently identify the banding of the movements on the back of the box; Philips put seven concertos on the first disc—and do not. '
The former spring into an early lead in the first of the 22 Allegros, brighter, crisper and, aided by sharp dynamic contrasts, with the permutations of the four soloists sharply pointed. John Borwick commented (5/85) on I Musici's ''relatively unsparkling approach'' and indeed this is true of many (though not all) of the faster movements; though I Solisti's tempos are rarely all that much the brisker they frequently generate a stronger sense of propulsion. In the second Allegro of Concerto No. 9 it is I Musici who set the (slightly) faster pace but it is I Solisti who bring it to life, and Giulio Franzetti sounds rather more comfortable than Pina Carmirelli for I Musici. Yet in the final movement of No. 6, perhaps recorded on a different day, Carmirelli is not one whit less brilliant and dexterous than Giovanni Guglielmo (I Sousti), despite the breathless pace—Presto indeed!
Carmirelli is in fact on duty in all 12 concertos, whereas I Solisti spread the workload; three players share the four solo concertos. An important factor in the difference between the two ensembles in the quicker movements is that of crispness: LS commented that in these recordings I Musid are tardier than the ASMF in detaching their bows from the strings, and on this count they also take second place to I Solisti; two Allegros, No. 1/I and No. 6/I, will suffice to make the point. In the slow movements where the score gives the clear instruction (spiccato) I Musid are as ready as anyone to leave air between their notes, but in the quicker ones they do not always perceive the need for it. I Solisti's slow movements are beautifully handled (as are most of I Musici's), notably No. 11/II—of which LS complained, I Solisti take it more slowly (c. 88 versus 108) and invest it with gentle pathos. The harpsichordist gets his fair share of the decibels in both recordings but it is Eduardo Farina (with I Solisti) who is the busier, inter alia filling the silences in No. 2/III—which, I feel, neither invite nor take too kindly to such intrusions.
There is much splendid playing by soloists and ripieno in both sets (both superbly recorded), but I Solisti emerge clear overall winners of this two horse race. Denon place six concertos on each disc, and conveniently identify the banding of the movements on the back of the box; Philips put seven concertos on the first disc—and do not. '
Vivaldi L'Estro Armonico
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