Gábor Vivaldi
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VIVALDI Tromba Veneziana u GÁBOR BOLDOCZKI Sergei Nakariakov u Cappella Gabetta Andres Gabetta G010003058880Y Tromba Veneziana I am delighted to present my new album “Tromba Veneziana”! I originally had the idea for this ten Komponisten der venezianischen Barockzeit: Antonio Lucio Vivaldi. Es ist wunderschön für recording while I was on holiday in my beloved Italy: the wonderful landscape and the architec- mich, das große Lebenswerk dieses grandiosen Komponisten durch diese Aufnahmen noch tiefer ture and rich musical history of the country give me new inspiration time after time. This album kennen zu lernen. Wenn ich Vivaldis Musik höre, strömt Sonne in mein Herz. Die meisten seiner is dedicated to one of the most important composers of the Venetian Baroque: Antonio Lucio Werke strahlen eine besondere Lebensfreude aus und seine temperamentvolle, klare Musik gibt Vivaldi. It was a marvellous experience for me to get to know this great composer’s magnificent mir unendlich viel positive Energie. Ich würde mich freuen, wenn es auch Ihnen, liebe Zuhörer, oeuvre even better through these recordings. When I hear Vivaldi’s music, my heart is filled so erginge! Da Vivaldi ausschließlich ein Doppelkonzert für die Trompete komponierte, erfolgte with sunshine. Most of his works radiate immense joie de vivre, and his clear and effervescent eine intensive Repertoiresuche nach möglichen Bearbeitungen. So interpretiere ich auf dieser Auf- music gives me endless positive energy. Dear listener, I hope it has the same effect on you! As nahme interessanterweise jeweils die ursprüngliche Violin-, Flöten-, Oboen-, Violoncello-, Lauten- Vivaldi only wrote a single double concerto for the trumpet, I had to search the repertoire thor- und Gesangstimme auf meinem Instrument. Eine sehr spannende Herausforderung war es, diese oughly to find works that lent themselves to an arrangement. Thus on this recording I perform vielfarbige, dynamisch fein differenzierte Musik auf der Trompete „auszusingen“. Die Werke bieten the original violin, flute, oboe, cello, lute or vocal part on my own instrument. It was an exciting großen Freiraum für individuelle Verzierungen. Dabei war es mir wichtig, nicht nur virtuos zu sein, challenge to ‘sing’ this colourful music with its wide and subtle dynamic range on the trum- sondern vor allem die vielfältigen musikalischen Möglichkeiten zum Ausdruck zu bringen. Beson- pet. These works offer plenty of scope for individual ornamentation; in this connection, it was ders freue ich mich über die Aufnahme des Konzertes RV 531 mit Sergei Nakariakov, mit dem ich important to me to not just indulge in virtuoso display, but in particular to bring out the wide seit mehreren Jahren immer wieder konzertiere und mit dem mich ein sehr freundschaftlicher range of musical possibilties. I am especially happy to have recorded the concerto RV 531 to- Kontakt verbindet. gether with Sergei Nakariakov: Sergei and I are close friends, and we have been playing together Nun wünsche ich Ihnen viel Freude mit “Tromba Veneziana”. Gönnen Sie sich eine musikalische regularly for some years now. Reise durch das traumhafte Venedig! It remains for me to wish you enjoyable listening to “Tromba Veneziana”. Lean back and embark on a musical journey through the unique city that is Venice! u Ich freue mich sehr, Ihnen mein neues Album “Tromba Veneziana” präsentieren zu dürfen. Das Thema dieser Aufnahme entstand während eines Urlaubes im geliebten Italien. Ich bewundere die wunderschöne Landschaft sowie die Architektur und die reiche Musikgeschichte dieses Lan- des inspiriert mich immer wieder aufs Neue. Dieses Album widmet sich einem der bedeutends- 2 3 ANTONIO VIVALDI (1678-1741) CONCERTO FOR 2 VIOLONCELLI, STRINGS & B.C. IN G MINOR, RV 531 (adapted for 2 flugelhorns, strings & b.c.) CONCERTO FOR VIOLIN, STRINGS & B.C. IN D MAJOR, RV 230 18 I. Allegro (3:16) u 19 II. Largo (2:43) u 20 III. Allegro (2:49) (adapted for trumpet, strings & b.c.) 1 I. Allegro (1:57) u 2 II. Larghetto (2:58) u 3 III. Allegro (2:06) GÁBOR BOLDOCZKI, trumpet & flugelhorn CONCERTO FOR 2 VIOLINS, STRINGS & B.C. IN A MINOR, RV 522 Andres Gabetta (violin solo, tracks 2, 4–6, 12, 14–17) (adapted for trumpet, violin, strings & b.c.) Rosario Conte (lute solo, track 8) 4 I. Allegro (3:17) u 5 II. Larghetto e spiritoso (3:18) u 6 III. Allegro (3:00) Sergei Nakariakov (flugelhorn solo, tracks 18–20) CONCERTO FOR LUTE, VIOLIN, VIOLA & B.C. IN D MAJOR, RV 93 CAPPELLA GABETTA (adapted for trumpet, strings & b.c. in C major) 1st violin: Andres Gabetta, Betina Pasteknik, Phuong-Mai Ngo 2nd violin: Francesco Colletti, Boris Begelman, Lorea Aranzasti Pardo 7 I. Allegro (3:10) u 8 II. Largo (4:00) u 9 III. Allegro (2:11) viola: Keiko Yamaguchi, Ignacio (Iñigo) Aranzasti Pardo cello: Petr Skalka, Maria Saturno – double bass: Federico Abraham 10 IL GIUSTINO, RV 717: VEDRÒ CON MIO DILETTO (4:48) harpsichord & organ: Giorgio Paronuzzi – theorbe & baroque guitar: Rosario Conte (adapted for flugelhorn, strings & b.c.) ANDRES GABETTA, violin & conductor CONCERTO FOR FLUTE, VIOLIN, VIOLONCELLO & B.C. IN G MINOR, RV106 (adapted for trumpet, strings & b.c. in E minor) This album is dedicated to the families Brunner and Raaf as well as Hans Seemann and Gerhard A. Meinl. 11 I. Allegro (2:59) u 12 II. Largo (3:14) u 13 III. Allegro (2:33) I would like to thank you for your support and for our wonderful friendship. (Gábor Boldoczki) CONCERTO FOR OBOE, VIOLIN, STRINGS & B.C. IN B-FLAT MAJOR, RV 548 (adapted for trumpet, violin, strings & b.c. in A major) 14 I. Allegro (3:29) u 15 II. Largo (3:06) u 16 III. Allegro (2:07) Gábor Boldoczki is a performing artist of Buffet Group on B&S and J.Scherzer trumpets. 17 SERENATA ANDROMEDA LIBERATA: SOVVENTE IL SOLE (9:44) Total Time: 66:58 • & 2013 Sony Music Entertainment Germany GmbH • Recording Producer: Jens Schünemann • Recording Engineer: Christian Feldgen • Mastering Engineer: Christoph Stickel at MSM Studio • Recording: Reformierte Kirchgemeinde Zweisimmen, Switzerland, (adapted for flugelhorn, violin, strings & b.c.) August 2013 • Management Gábor Boldoczki: CCM Classic Concerts Management • Photos: Marco Borggreve (Boldoczki), Holger Talinski (Cappella Gabetta) • Artwork: Roland Demus • www.cappellagabetta.com • www.sonyclassical.de 4 5 6 7 TROMBA VENEZIANA – It’s true that all the solo concertos that Vivaldi wrote for the young musicians at the Ospedale OR: A VISIT TO THE “RED PRIEST” ANTONIO VIVALDI della Pietà were peppered with the utmost technical difficulties. Vivaldi wrote some 500 con- certos for the entire range of instruments, the lion’s share for solo violin, the instrument on As early as the mid-15th century, the Italian trading city of Venice was being praised as a “nuo- which the composer, himself the son of an amateur violinist, had achieved exceptional skill. In vo paradiso” in the field of the arts. Famous painters such as Titian, Tintoretto and Veronese addition, there are both solo and double concertos for the other members of the strings family worked in the lagoon city, while the spectacular Basilica San Marco had become established as well as for woodwind instruments. as an important centre of music. This reputation was not only due to the many great names who held the position of maestro di musica at the cathedral – e.g. Adrian Willaert, Giovanni Surprisingly enough, Vivaldi hardly wrote any original compositions for brass: his oeuvre con- Gabrieli and, at the beginning of the 17th century, Claudio Monteverdi. In addition, these com- tains just two concertos for a pair of horns each, and a double concerto for trumpet. Strange posers transformed the interior of the church into an experimental acoustic stage with their insofar as the trumpet was an integral feature of music-making at the time. Monteverdi opened vocal works: thanks to the two organ lofts situated opposite one another, the two halves of the his L’Orfeo with brilliant trumpet fanfares in 1607, thus laying the foundation stone for the so-called coro spezzato or split choir could now engage in a dialogue. This was a revolution that new opera genre. The trumpet was heard at festivities and coronation ceremonies, and in Italy soon caused a stir north of the Alps as well, prompting German composers to undertake the Vivaldi’s fellow composer Giuseppe Torelli had just written a series of brilliant solo concertos arduous trip over the mountains to gain a first-hand impression of the new style of music that for the trumpet. Unfortunately, only a few letters survive from Vivaldi’s pen, so that we can’t say was to be heard in Venice. Historians have worked out that the bumpy journey over the rough why he made effective use of the trumpet in his operas, but largely ignored it in a solo capacity. Alpine passes in coaches without springs was made at an average speed of 4½ kilometres, and the passengers were in constant fear that highwaymen might attack them. For his programme “Tromba Veneziana”, trumpeter Gábor Boldoczki has recorded arrange- ments of six concertos and two arias by Vivaldi, who was also a productive opera composer. And The most famous pilgrim to Venice in the early 18th century was George Frideric Handel. And with his nimble articulation, his flexibility and variable tone, Boldoczki slips so adroitly and even if there is no documentary evidence, it’s highly likely that the German composer went with such feeling into all the different roles that the listener almost forgets the solo instruments to the famous concerts in La Serenissima given by Antonio Vivaldi and the orchestra of the that the pieces were originally written for. girls’ orphanage where he worked, the Ospedale della Pietà. Vivaldi had been appointed music master, violin teacher and conductor of the orchestra at the institution, which was supported by Among the works selected here are two pieces from Vivaldi’s collection L’estro armonico (Har- aristocracy and citizens alike, in 1703.