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Antonio VIVALDI (1678 - 1741): "Violin Sonatas & Concerto"
Isabella Bison, violin;
Stefano Marcocchi, violaa;
Marco Frezzato, cello;
Francesco Corti, harpsichord
rec: July 3 - 5, 2018, Prato, Santa Maria delle Carceri
Passacaille - PAS 1072 (© 2019) (65'18")
Liner-notes: E/D/F
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Concerto for violin, strings and bc in D (RV 231)a;
Concerto for violin, strings and bc in E flat (RV 252);
Sonata for violin and bc in C (RV 3);
Sonata for violin and bc in c minor (RV 5);
Sonata for violin and bc in c minor (RV 7a) (grave);
Sonata for violin and bc in D (RV 10);
Sonata for violin and bc in F (RV 19);
Sonata for violin and bc in g minor (RV 26)
The largest part of Antonio Vivaldi's oeuvre comprises solo concertos and concertos for two and more instruments. These are frequently performed and recorded, whereas the solo and trio sonatas are far lesser known. Over the years not that many discs with his chamber music have crossed my path; the main exceptions are the cello sonatas and those pieces which have the form of a concerto da camera. Most of Vivaldi's sonatas are for one or two violins and basso continuo. Three collections of sonatas were printed: twelve trio sonatas as Op. 1 and twelve sonatas for violin and basso continuo as Op. 2, whereas the Op. 5 includes four solo sonatas and two trio sonatas. Such printed editions were intended for amateurs, and although they are certainly not without technical challenges, Vivaldi's most brilliant sonatas are those that have been preserved in manuscript. The present disc includes some striking examples of sonatas which are hardly less virtuosic than the violin concertos.
The programme opens with the Sonata in D (RV 10), which includes frequent double stopping - a technique which was almost exclusively used in pieces for professional players. Its first movement consists of three sections: allegro - adagio - presto. The three next movements have tempo indications, but are in the form of dances. The third movement includes chromaticism. The Sonata in g minor (RV 26), which is the second piece in the programme, opens with a grave in the form of a recitative. This sonata has five movements. Notable are the dotted rhythms in the third, a largo. Double stopping is a feature of the second movement. The fifth and last movement has the title of a dance: giga.
Double stopping is also frequently applied in the Sonata in c minor (RV 5) and in the Sonata in C (RV 3). The latter has the form of a sonata da chiesa: it opens with a preludio, continues with a corrente and closes with an allemanda. The third movement is a largo. The first movement is quite dramatic, whereas the third is more lyrical. The two fast movements are highly virtuosic, and that also goes for the two fast movements of RV 5.
Some of Vivaldi's sonatas have a pedagogical character. That is the case with the Sonata in F (RV 9). It is dedicated to the German violinist Johann Georg Pisendel, who during a sojourn in Venice, stood in close contact with Vivaldi and Albinoni. Both gave him some of their sonatas. Vivaldi seems to have considered Pisendel a colleague rather than a pupil. The Sonata in F has five movements. The slow movements are rather simple, and invite the performer to add something of his own, such as embellishments and cadenzas. The fact that the two fast movements are technically brilliant tells us something about Vivaldi's opinion of Pisendel. That also goes for the closing allegro, which is a sequence of six variations.
Some of Vivaldi's works come with alternative movements. Such a case is the Sonata in c minor (RV 7). The third movement is called aria, but here we get a grave, which has the character of a rustic dance in triple time.
This disc also includes a violin concerto and the slow movement of another concerto. Both appear on disc for the first time. They are less out of sync with the rest of the programme than one may think. Both slow movements are for violin and basso continuo, without tutti episodes. The Concerto in D is dominated by the solo violin; there are no separate ritornellos. In addition to the solo violin part, it includes a tutti violin line, which is identical with the solo part. That means that it does not add anything substantial. One could argue that the omission of a second violin takes away the contrast between 'soli' and 'tutti'. However, in this case it is the viola which contributes to that contrast. This concerto is a short work; it takes less than seven minutes here. However, it is vintage Vivaldi, as the solo part shows the same brilliance as most of the violin concertos. The largo from the Concerto in E flat is a nice piece, which reminds me of the slow movement of the Winter from the 'Four Seasons'.
Considering the relative lack of recordings of Vivaldi's violin sonatas, which is rather surprising, this disc is most welcome. It offers a fascinating insight into the world of Vivaldi and the connection between his solo concertos and his chamber music. Isabella Bison is the ideal interpreter. Her technical skills are impressive, but she also is a fine musician. This disc is more than just a demonstration of the virtuosity of the music and the interpreter. This is a compelling recital of some of the best chamber music for solo violin one would like to hear. There is some wonderful lyricism in the slow movements, and Bison makes the best of that as well. She receives excellent support from Marco Frezzato and Francesco Corti.
No Vivaldi lover should miss this disc, also because of the two first recordings.
Johan van Veen (© 2020)