Vivaldi’s Seasons Bolette Roed

ARTE DEI SUONATORI

VIVALDI’S SEASONS “Summer”

Antonio Vivaldi (1678-1741) in D Minor Op. 8 No. 9, RV 236 13 I. Allegro 3. 05 “Spring” CD 1 14 II. Largo 2. 25 15 III. Allegro 2. 50 Concerto in E-flat Major, RV 257 1 I. Andante molto e quasi allegro 4. 34 Concerto in C Major Op. 4 No. 7, RV 185 2 II. (Adagio) 2. 25 16 I. Largo 2. 31 3 III. Allegro 3. 35 17 II. Allegro 2. 16 18 III. Largo 1. 44 Concerto in A Major, RV 335a “Il rosignuolo” 19 IV. Allegro 2. 21 4 I. Allegro 4. 20 5 II. Grave 2. 23 Concerto in D Minor Op. 4 No. 8, RV 249 6 III. Allegro 4. 10 20 I. Allegro 1. 51 21 II. Adagio - Presto - Adagio 2. 23 Concerto in E Major, RV 271 “L’amoroso” 22 III. Allegro 3. 41 7 I. Allegro 3. 37 8 II. Cantabile 2. 27 Concerto in G Minor, Op. 8 No. 2, RV 315 “L’estate” 9 III. Allegro 3. 37 23 I. Allegro non molto - Allegro 5. 27 24 II. Adagio e piano - Presto e forte 2. 08 Concerto in E Major Op. 8 No. 1, RV 269 “La primavera” 25 III. Presto 3. 00 10 I. Allegro 3. 15 11 II. Largo e pianissimo sempre 2. 46 Total playing time: 76. 47 12 III. Allegro 3. 41 “Autumn” CD 2 “Winter”

Concerto in C Major, Op. 8 No. 12, RV 449 Concerto in G Minor, Op. 9 No. 3, RV 334 1 I. Allegro 3. 16 13 I. Allegro non molto 3. 30 2 II. Largo 2. 30 14 II. Largo 4. 12 3 III. Allegro 3. 40 15 III. Allegro non molto 3. 01

Concerto in G Minor, Op. 4 No. 6, RV 316a Concerto in B Minor, RV 389 4 I. Allegro 2. 49 16 I. Allegro poco 4. 11 5 II. Largo 2. 39 17 II. Largo 2. 50 6 III. Allegro 4. 09 18 III. Allegro 4. 27

Concerto in A Minor, Op. 4 No. 4, RV 357 Concerto in C Minor, Op. 4 No. 10, RV 196 7 I. Allegro 3. 09 19 I. Spirituoso 3. 06 8 II. Grave 2. 39 20 II. Adagio 2. 16 9 III. Allegro 2. 51 21 III. Allegro 2. 57

Concerto in , Op. 8 No. 3, RV 293 “L’autunno” Concerto in F Minor, Op. 8 No. 4, RV 297 “L’inverno” 10 I. Allegro - Allegro assai 5. 00 22 I. Allegro non molto 3. 20 11 II. Adagio molto 2. 42 23 II. Largo 1. 52 12 III. Allegro 3. 22 24 III. Allegro - Lento 3. 22

Total playing time: 78. 04 Bolette Roed, recorder Arte dei Suonatori About this recording equally wonderful pieces that lack these Few, if any, pieces of classical music catchy keyword tags. are as recognizable or popular as “The Titles and nicknames have long been Four Seasons” by . They applied to pieces to describe aspects of Nicholas Lockey have been recorded innumerable times the music (“Unfinished,” “Surprise”) or and re-interpreted over more than three to reflect extra-musical associations with centuries. stories, objects, moods, etc. (“The Storm at Sea”, “Emperor”, “Pathetique”). All too While working with Arte dei Suonatori often, works bearing names - whether it dawned upon us, that so many given by the composer, a performer, a of Vivaldi’s other could music critic, or a publisher - have tended comfortably fit into the “seasons” theme to receive far more attention than those if one thinks about it. The seasons all only known by genetic titles, such as have contrasting elements: no matter if Concerto in D, Sonata Op. 2 #5, or Suite it’s spring, summer, autumn or winter, in F Minor. This is a particular problem for they all contain beautiful and promising Vivaldi, whose numerous works are mostly moments as well as dark and tormenting known by generic titles and RV catalog ones. These thoughts inspired us to numbers. The fact that a composer did search out a few concertos that we felt not supply a specific nickname does not could fit into the seasons theme, while necessarily mean that the composer did at the same time holding a strong appeal not have extra-musical ideas in mind and for me personally. simply wished not to limit the imagination of the audience. It is therefore tempting The result is that we have added a total of to wonder what would happen if 12 Vivaldi concertos that we feel match the nicknames existed for some of the many character of the respective Op. 8 pieces.

6 7 This idea and work resulted in the current might give each piece. Perhaps you’ll agree Vivaldi’s cycle of violin concertos known secular allegories, mythological characters, or release – Vivaldi’s Seasons. with my suggested titles or discover your as The Four Seasons (published in 1725 but the tendency to focus almost exclusively on own. In any case, it is my hope that these probably written during the 1710s) strikes us human activities. Instead, in Vivaldi’s seasons, The famous Four Seasons and a couple concertos will spark your imagination as now — as it did for his contemporaries — as humans frequently come into conflict with of the additional concertos already they did for mine. something special. Out of the hundreds of untamed elements of the natural world. The have titles from Vivaldi’s hand, while the concertos, sinfonias, and sonatas that he interactions that result are often praised for majority does not. For this subset, adding Bolette Roed wrote, they are among only a very small their realism as well as the sheer drama they our own titles might help us as listeners to number that make explicit reference to contribute to these concertos. create a stronger bond with each concerto extra-musical ideas. And yet, Vivaldi was and ultimately, to enjoy the music more contributing to a rich tradition within In his Spring concerto, Vivaldi avoids the intensely. Along these lines and while European cultures of celebrating various typical references to Flora or Venus as well as working on the concertos, I imagined aspects of the seasons in music, literature, the common themes of new-found love and different scenarios from Vivaldi’s epoch; for poetry, dance, and the visual and decorative planting crops. The concerto is nonetheless a instance op. 8 no. 9 (Disc 1, tracks 13-15), arts. While Vivaldi appears to have been the predominantly joyous celebration of life newly I termed “The fire” and Op. 4 no. 7 (Disc 1, first to use the relatively new genre of the emerged from winter. The first movement is tracks 16-19) I associated with “Sunrise” – concerto for his representations, the seasons a tribute to the sonic beauties of the natural both within the summer season. Within the had already been the subject of a few ballets, world – the melodious songs of the birds, the autumn selection, I nicknamed Op. 4 no. masques, and sets of sonatas and suites. soft rustling of leaves, and the murmuring of 6 (Disc 2, tracks 4-6) as “The fishermen” small streams. The leaves continue to rustle and Op. 8 no. 12 as “The harvest” (Disc 2, Much more unusual for his time — and a big through the second movement — a tribute tracks 1-3). part of the reason Vivaldi’s cycle continues to the value of sleep and fidelity (represented to resonate with current audiences — are by the barking dog – played by the viola — Thus, I invite you to imagine your own the topics he chose to address in each aside the sleeping goatherd). In the third story or emotions while listening to these season, for they significantly depart from movement, the nymphs and shepherds recordings, and to consider what title you the traditional preference for sacred and enjoy a rustic dance (complete with viola

8 9 and basso continuo imitations of bagpipe for violins and violas without — supports gestures found in the thunderstorm episode drones), although Vivaldi gives no explanation a plaintive, aria-like melody. of Spring (near the middle and later parts for the lament-like minor-mode episode of the first movement), but now these are near the end. Likewise, Vivaldi introduces a Like Spring, the violin concerto Il Rosignuolo set within a more expansive concerto that troubling moment in the first movement of RV 335 makes extensive use of loose features an even greater array of rhythmic this otherwise celebratory concerto, as the imitations of birdsong, although in this case and textural variations, including a myriad skies darken during a short but powerful the birdsong and other perpetual-motion of figurations for the soloist (which Vivaldi thunderstorm; these are forebodings of the writing dominates nearly all of the solo subjected to several modifications) during drama that awaits us elsewhere in the cycle episodes in the fast movements. The version the first and third movements. UnlikeSpring , of concertos. of RV 335 heard on this recording comes from the lyrical solo melody of slow movement is a manuscript source in Ancona (formerly accompanied by the full ensemble. Vivaldi did take up the concept of love and identified as RV 335a), with a slow movement the display of affection directly in his violin that is also found in a concerto elsewhere The Summer concerto constitutes Vivaldi’s concerto L’Amoroso RV 271. One of several published under the name of Francesco most radical departure from previous concertos where the title seems to refer to Maria Veracini. Scholars have not reached a representations of summer in the arts. a general expressive character rather than consensus on the authorship of the Ancona Instead of the expected allusions to any specific narrative, this work is notable slow movement, but The Cuckow (as RV 335 Vertumnus or Ceres, suggestions of blissful for using the same bright key of E major as was known in early English printed editions, days shared between a couple in love, or for Vivaldi employed for Spring and a plethora of where it appeared with a slow movement breath and sinking to the ground beneath grace notes that lend a suggestion of flattery of undisputed authenticity) was among the the intense heat, bird solos that now hint at and amorous sighs to the melodic line. This most popular of Vivaldi’s concertos during his difficulties to come, violent winds that rush concerto also shares with Spring the use of lifetime and for many decades thereafter. over the landscape, and a remarkable an appealing ritornello melody in the opening The Violin Concerto in E-flat RV 257, which lament-like final solo episode where a movement and a slow movement where a probably dates from the last decade or so of descriptions of harvesting crops nourished by repetitive accompaniment — also scored here Vivaldi’s career, exhibits some of the same the life-sustaining sun, Vivaldi presents

10 11 us with scenes of physical and psychological embellished, to start the last solo episode), of this finale also appears in the sinfonia to turns. While the second movement initially turmoil. The first movement introduces the the harmonic surprises just before the end Vivaldi’s (1713) as well allows us to gather our bearings, several of oppressive conditions of summer — panting of the slow movement, or the descending as the Violin Concerto in C Op. 7 No. 2 and the solo episodes play with our harmonic shepherd vents his anxiety and despair. As in half-step in the melody that begins the final the Oboe Concerto in C RV 447. and metric equilibrium — in one case near Spring, the slow movement presents a lyrical movement. Another prominent feature of the end, returning us briefly to A-flat Major melody accompanied by a regular rhythmic this concerto is the use of syncopation, found Few of Vivaldi’s concertos could be farther just as the bass appears to skip a count and pattern, although here the shepherd’s sleep is in every section of the first movement and from our textbook-based perceptions than get one beat ahead of the solo line. troubled by interruptions of thunder (recalling returning in the melody and bass lines of the the Violin Concerto in D Minor Op. 4 No. another part of Spring) and the barking dog third movement. Only the pensive second 8, a work that fully embodies the bizarre and With the Autumn concerto, Vivaldi kept has been replaced by the less endearing movement provides a greater degree of fantastic aspects suggested by the title of the season’s long-standing association suggestion of buzzing flies. A violent and regularity via the almost-continuous quaver the Op. 4 collection ‘’ (‘The with harvests and drinking but reduced the destructive storm is unleashed in the third bass line that underpins a rhythmically- Extravagance’). The concerto opens with habitual portrayal of Bacchus to a quick movement, where the main ritornello begins diverse melodic line. a series of apparently unrelated and highly euphemistic reference for wine. The first with a four-note descending gesture (often contrasting segments (here spread across movement, making frequent use of echo used, in a minor key, to signal trouble or As with several movements in The Four two tracks) in a fantasia-like sequence that effects, begins with the songs and dances despair) intensely scored for the full ensemble Seasons, the Violin Concerto in C Major seems to defy rationalization: 1) a segment of villagers celebrating a good harvest. The in parallel octaves. Op. 4 No. 7 defies present-day expectations that alternates boldly chromatic solo remainder of the movement is centered of Vivaldi’s concertos. It has four movements arabesques with a terse but highly energized upon the rather unpredictable antics of a Descending lines and chromatic writing also (in a slow-fast-slow-fast sequence), contains ritornello idea, 2) a single Adagio measure of drunken villager who falls asleep in a slower figure prominently in theViolin Concerto the most extended use of imitative textures repeated chords, 3) a rapid-fire Presto that section near the end before the other in D Minor Op. 8 No. 9, whether in the amongst all the concertos on this album, progresses to the remote key of A-flat major villagers return to their celebrations. Sleep is sighing figures for unison violins in the first includes a plethora of harmonic surprises in before spiraling back towards D minor, and again the subject of the slow movement movement’s main ritornello, the descending the first three movements, and features a 4) an even more harmonically-adventurous (also featured, with some modifications, in lines in the first solo episode of the same second solo violin (in movements 3 and 4) Adagio where the sustained string harmonies the Chamber Concerto RV 104 “La Notte” movement (the material of which returns, and solo (in the finale). The main theme snake through a labyrinth of chromatic and its adaptation as the Flute Concerto Op.

12 13 10 No. 2). This time, everything is eerily still The first movement of the Violin Concerto in parts are in parallel octaves. In contrast, (Vivaldi’s direction that the harpsichordist G Minor Op. 4 No. 6 makes extensive use of the restless solo line of the slow movement should improvise arpeggios throughout rising harmonic lines and syncopation rather is accompanied only by violins and violas emphasizes the lack of activity in the other than the descending lines and rhythmic that occasionally touch upon very dissonant parts). The finale is a hunting scene filled with regularity found in the ritornellos of Autumn. harmonies. the sounds of horn calls, gunshots, and dogs The highly expressive slow movement brings giving chase before the unidentified “wild a surprise when the full ensemble suddenly For his Winter concerto, Vivaldi magnifies beast” dies from exhaustion. enters to reinforce the two strongest the harshness of the weather conditions and cadences in a movement that is otherwise forgoes popular references to old age, The Violin Concerto in C Major Op. 8 No. scored for soloist and basso continuo only. faded romance, and the figure of Aeolus. 12 comprises two bright, cheerful movements Descending chromatic lines and bold This new focus is clear from the very first that surround a somber dance with harmonic twists make frequent appearances measures, where the instrumental parts melodic phrases that frequently elaborate in the intense finale, particularly in the triplet- enter one by one on a very dissonant chord a descending line. In addition to being dominated penultimate solo episode, which before the soloist bursts forth as a “horrid marked by large leaps in the main ritornello, would not have been out of place in the wind” that soon sends everyone running and the first movement of this concerto shares concerto Op. 4 No. 8. stamping through the snow. The remarkable with Autumn the use of echo effects and a slow movement represents the customary tendency to feature harmonious parallel thirds Repeated melodic leaps and echoed fireside retreat with a richly layered texture in the violin parts. One pleasant surprise in repetitions are an essential feature in the that includes pizzicato violins in steady the finale is that in the closing ritornello the outer movements of the Violin Concerto semiquavers (rain drops falling on the upper voices adapt the semiquaver notes that in A Minor Op. 4 No. 4; these often pass to window) and a rapid leaping figure played by have dominated the solo part and apply them the bass line during solo episodes or when a single cello (presumably flames dancing in to material that had previously been heard there are imitative exchanges between the the fire). Instead of being the invitation for mostly in quavers — the transformation is so upper parts. The same movements also amusing games, the ice that is the subject of natural that it easily passes unnoticed! make powerful use of textures where all the the first part of the finale is a source of

14 15 fear and — as people fall down — physical of an oboe concerto (RV 460, eventually lyrical musing supported by a perpetual pain. The ice soon wrenches apart and the published a few years after the violin quaver bass line played by unison violins and music plunges before a sudden pause and a version as Op. 11 No. 6). The ritornellos of violas. change of tempo. The warming Sirocco wind the first movement are marked by melodic brings another moment of respite before suspensions and several repeated, rising With the Violin Concerto in C Minor Op. the North wind gives battle with a stream of melodic gestures. The second movement is a 4 No. 10 we return to many elements heard demisemiquavers. set of variations over a descending chromatic elsewhere throughout this album. The first bass line (heard alone at the start and end) movement makes prominent use of rising Vivaldi himself established a precedent for organized through a process of subtraction: harmonic lines (c.f. Op. 4 No. 6), has a first adapting his concertos to suit different three variations in G minor are followed by solo episode that quotes from the opening instruments. For instance, the concertos two variations in C minor and another, single ritornello (c.f. Autumn and Op. 4 No. 6), and Op. 8 No. 9 and 12 were probably written for variation in G minor. The third movement ends with a plunge to a half close (c.f. Winter oboe and adapted for violin when published abounds with dramatic contrasts and fiery before the appearance of the Sirocco winds). in Op. 8 (although a notice in Op. 8 gives exchanges between the two uppermost The second movement begins with four-voice the option of using either instrument for voices. imitation after which the solo commences these two concertos). The opening of Spring and is imitated by the basso continuo. As was even adapted by Vivaldi in two of his The Violin Concerto in B Minor RV 389 with Op. 8 No. 12 and several passages in The (Il and — the is another work that likely dates from the Four Seasons, the boundaries of ritornello latter including parts for a chorus), while latter part of Vivaldi’s career. Evidence of and solo episode are blurred in the finale, the dissonant opening of Winter serves as this can be seen in the greater rhythmic where the soloist repeatedly interjects a a starting point for the aria ‘Gelido in ogni variety and complex array of gestures in the syncopated idea before the opening ritornello vena’ (‘I feel the blood run cold in all my solos — a trait probably influenced by the is concluded. veins’) featured in his operas Siroe, , rising popularity of the galant style. The outer and . The Violin Concerto in G movements are marked by these ornate Nicholas Lockey Minor Op. 9 No. 3 is another adaptation solos while the middle movement is another

16 17 Arte dei Suonatori

July 2017 Session

Violin I: Aureliusz Goliński, Joanna Kreft, Marcin Tarnawski Violin II: Ewa Golińska, Michał Marcinkowski, Katarzyna Olszewska Viola: Natalia Reichert Violoncello: Poppy Walshaw Double bass: Michał Bąk Theorbo: Yasunori Imamura Harpsichord: Martin Gester

July and August 2018 Sessions

Violin I:Aureliusz Goliński, Katarzyna Olszewska Violin II: Ewa Golińska, Michał Marcinkowski Viola: Natalia Reichert Violoncello: Poppy Walshaw Violone: Julia Karpeta Theorbo: Yasunori Imamura Harpsichord: Imbi Tarum

© Magdalena Kasperczak 18 19 Acknowledgments Also available on PENTATONE PRODUCTION TEAM Executive producer Bolette Roed July 2017: Producer, sound engineer & editing Nora Brandenburg | Mixing Stephan Reh July 2018: Producer, sound engineer & editing (for RW 293 & 297) Nora Brandenburg Editing (RW 257, 269, 271 & 335a) Daniel Davidsen | Mixing Stephan Reh August 2018: Producer, sound engineer, mixing & editing Stephan Reh

Liner notes Nicholas Lockey | Cover photography Kirstine Ploug | Booklet photography of Bolette Roed Caroline Bittencourt | Design Marjolein Coenrady | Product management Kasper van Kooten

This album was recorded at Kościół Ewangelicki św. Jana (St John Evangelical Church), Mikołów, Poland in July 2017 (RV 185, 236, 249, 316a & 449), July 2018 (RV 257, 269, 271, 293, 297 & 335a) and August 2018 (RV 196, 315, 334, 357 & 389).

Special thanks to pastor Kornel Undas and his wife for their hospitality and for making the St John Evangelical Church available for the recording sessions.

Thanks to the Augustinus Foundation and the William Demant Foundation for the generous support.

PENTATONE TEAM Vice President A&R Renaud Loranger | Managing Director Simon M. Eder A&R Manager Kate Rockett | Product Manager Kasper van Kooten PTC 5186 749 Head of Marketing, PR & Sales Silvia Pietrosanti

21 22 23 Sit back and enjoy