Volume Three the Golden Age
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THE RIse of THE NortH ItalIan VIolIN Concerto: 1690 – 1740 VolUME THree THE GOLDEN AGE La SERENISSIma ADRIAN CHANDLER DIRECTOR / VIOLIN MUSIC BY VIvaLDI · T ARTINI LOCatELLI SammaRTINI THE RIse of THE NortH ItalIan VIolIN Concerto: 1690 – 1740 VolUME THree THE GOLDEN AGE Concerto for violin, 2 oboes, bassoon, Concerto for 4 violins, strings 2 horns, strings & continuo in F, RV 569 & continuo in F, Op 4/12 Antonio Vivaldi (1678–1741) 12:25 Pietro Locatelli 11:18 1 Allegro 4:40 9 Allegro 3:19 2 Grave 2:55 10 Largo 3:51 3 Allegro 4:50 11 Allegro – Adagio – Allegro 4:08 Solo violin: Adrian Chandler · Oboes: Gail Hennessy, Solo violins: Adrian Chandler, Cecilia Bernardini, Sarah Mark Radcliffe · Bassoon: Peter Whelan · Solo cello: Gareth Moffatt, Jane Gordon · Solo ripieno violins: Simon Kodurand, Deats 3 · Horns: Roger Montgomery, Jocelyn Lightfoot Leonie Curtin · Solo ripieno violas: Peter Collyer, Alfonso Leal · Solo cello: Gareth Deats · Harpsichord: Robert Howarth · Theorbo: Eligio Quinteiro Concerto da chiesa in c, Op 4/11 Pietro Locatelli (1695 – 1764) 10:16 Concerto à più stromenti for 2 violins, 4 Grave 2:06 2 oboes, 2 horns, 2 trumpets, 5 Andante – Adagio 2:00 strings & continuo in E , J 73 6 Largo 0:56 Giovanni Battista Sammartini 7 Largo Andante – Adagio 1:52 (1700/1 – 1775) 13:08 8 Vivace – Adagio 3:22 12 Tempo Largo 7:09 Solo violins: Adrian Chandler, Sarah Moffatt · Solo violas: 13 Tempo Giusto 5:59 Peter Collyer, Alfonso Leal · Solo cello: Gareth Deats · Continuo organ 1: Robert Howarth · Theorbo: Eligio Quinteiro Solo violins: Adrian Chandler, Cecilia Bernardini · Oboes: Gail Hennessy, Mark Radcliffe 2 Adrian Chandler · Violin & Director Rowland Ross, 1981, after Amati Cecilia Bernardini · Violin 1 Anon., C18, Klotz School Simon Kodurand · Violin 1 Anon., C18, Poland Kathryn Parry · Violin 1 Concerto for violin, strings Willibrord Crijnen, 1998, Marseille, after Stainer & continuo in B , D 117 Sarah Moffatt · Violin 2 Anon., c1740, Rome Giuseppe Tartini (1692 – 1770) 18:35 Jane Gordon · Violin 2 14 [Grave] 1:19 Anon., c1750, Venice 15 Allegro 6:56 Leonie Curtin · Violin 2 16 [Largo] 3:45 Anon., c1790, South Germany 17 Allegro 6:35 James O'Toole · Violin 2 Anon., c1760, Tyrol Solo violin: Adrian Chandler [1] - [3] & [12 ] - [20] Peter Collyer · Viola Concerto for violin, 2 oboes, bassoon, Joseph Hill, c1760, London 2 horns, timpani, strings & continuo in D, Alfonso Leal · Viola RV 562a Anon., c1750, Germany Antonio Vivaldi 13:06 Louise Hogan · Viola Rowland Ross, 1995, Guildford, after Amati 18 Allegro 5:28 19 Grave 3:37 Malgosia Ziemkiewicz · Viola J Pawlikowski, 2006, Poland, after Amati 20 Allegro 4:01 [1] - [11] & [18] - [20] Solo violin: Adrian Chandler · Oboes: Gail Hennessy, Mark Elizabeth MacCarthy · Viola Radcliffe · Bassoon: Peter Whelan · Horns: Roger Montgomery, Lu Mi, 2006, China Jocelyn Lightfoot · Timpani: Robert Kendall [4] - [11] Pitch: A = 440Hz James O’Toole · Viola Anon., c1760, England Keyboard preparation: Malcolm Greenhalgh [4] - [11] Editions: Adrian Chandler Recorded February 13–16 2008 Gareth Deats · Violoncello at The Wathen Hall, St. Paul’s School, London Michael Watson, 1993, Manchester, after A Guarneri 3 Poppy Walshaw · Violoncello Nicholas Benz · Horn 1 Benjamin Banks, 1777, Salisbury Webb/Halstead, 1992, London, after Leichamschneider, 1717, Vienna Jonathon Byers · Violoncello [11] - [12] John Johnston, c1760, London [4] - [11] Jocelyn Lightfoot · Horn Webb/Halstead, 1997, London, Peter McCarthy · Double Bass after Leichamschneider, 1717, Vienna Anon., C17, Brescia region Neil Borugh · Trumpet Eligio Quinteiro · Theorbo Matthew Parker, 1997, Berkhamstead, Klaus Jacobsen, 2002, London, after Sellas (c1630) after Ehe II, Nurnberg Robert Howarth · Harpsichord Matthew Wells · Trumpet Malcolm Greenhalgh, 1989, Keavy/Van Rynn, 1990, Buckinghamshire London, after Grimaldi (c1680) [1] - [3] & [9] - [20] Robert Kendall · Timpani Robert Howarth · Organ Anon., 1834, Bologna ’D: 19 inch ’A: 20.5 inch Lammermuir Pipe Organs, 2000, after various originals [4] - [8] Joseph McHardy · Organ Robin Jennings, 2005, Kent, after various originals [1] - [11] & [14] - [20] Gail Hennessy · Oboe 1 Sand Dalton, 2007, USA, after Anciuti Mark Radcliffe · Oboe 2 Sand Dalton, 2007, USA, after Anciuti Peter Whelan · Bassoon Peter de Koningh, 2007, Holland, after anonymous Venetian model Roger Montgomery · Horn 1 Webb/Halstead, 1989, London, after Leichamschneider, 1717, Vienna [1] - [3] & [18] - [20] 4 5 The Rise of the North Italian had performed his concerto composed for the Violin Concerto III – The Golden Age Saint’s feast day (see La Serenisisma CD, Music for the Chapel of the Pietà, AV 2063). y the 1730s the instrumental concerto had Tartini wrote about 130 violin concertos Bfully matured over the forty years since it mostly destined for performance in the Basilica, emerged from the chrysalis of the ensemble now home to a large collection of his autograph sonata. Though much of the early development manuscripts. One of the earliest to survive had been undertaken by composers such as (ca. 1730) is the four-movement concerto in Torelli, Albinoni and Valentini, it is probably B , D 117, whose grand opening and contra- Vivaldi who should claim greatest credit for puntal allegro are ideally suited for perfor- this. With the wide dissemination of his con- mance during a ceremonial feast day. The certos both in manuscript and print, Vivaldi’s manuscript contains three pages of musical style was emulated by composers throughout sketches before the start of the concerto proper. Europe, among whom were Giuseppe Tartini Ironically, Tartini discards his initial theme of and Pietro Locatelli, two fellow North-Italian the first allegro in favour of a motif with greater violin virtuosos. potential for development, though he returned Tartini was born in the Istrian town of to his original idea when later reworking the Pirano, the fourth of four brothers and three concerto, as seen in a manuscript copied sisters. His father, the Florentine merchant by Johann Georg Pisendel in the Sächsische Giovanni Antonio Tartini, had married locally to Landesbibliothek, Dresden, (D 116). Caterina Zangrando and planned for Giuseppe In his many writings on music, Tartini iden- to enter the church, an objective that foundered tifies two types of cadenza, both of which are when the young firebrand took up law, moved to be found here; his preferred shorter caden- to Padua and enrolled in its famous university. za, improvised by the player and more akin to However, he neglected his studies preferring to Mozart’s Eingang appears prior to the end of fence and play the violin, which, according to the finale, whilst a virtuosic capriccio is written his friend Gian-Rinaldo Carli, he practised for out before the end of the first allegro. Although eight hours a day. Tartini condemned the latter type, he admitted After sojourns in Assisi (1713 – 1715 and that if people liked to hear them, one had to 1719) and Ancona (1717), Tartini returned to play them! He was the first composer to incor- Padua in 1721 as a famous virtuoso and was im- porate themes and motifs from the main work mediately appointed as leader of the orchestra into the capriccio, a trait discernible already at of the Basilica del Santo (Basilica of St Antho- this early stage. ny of Padua), where, nine years earlier, Vivaldi 6 Although cadenzas had already been used The concerto for four violins also combines in concertos by Torelli (headed perfidia), and Roman and north-Italian/Venetian elements. Vivaldi (headed cadenza), it was Pietro Loca- Such concertos were made popular by Vivaldi telli who established their common usage with (see AV 2106), Torelli and also by Valentini (see his twelve concertos Opus 3, L’arte del violino. AV 2106), who was probably one of Locatelli’s These were published in Amsterdam (1733), teachers, but whereas the earlier works are the city to where he had moved in 1729 fol- largely grandiose ensemble sonatas, Locatelli’s lowing a distinguished career in Rome, Mantua, concerto is modelled on the Vivaldian solo Venice and Berlin. The Bergamasque composer concerto, (albeit for four soloists!) with parts made Amsterdam his home for the rest of his for accompanying strings and two continuo life, though his activities as a composer rapidly groups. diminished after the mid-1740s. The popularity of the four-violin concer- L’arte del violino was followed in 1735 with to was waning, but examples continued to be a mixed bag of Introduttioni teatrali (nos. written by the Neapolitan Leonardo Leo and the 1 – 6) and concertos (nos. 7 – 12), published Milanese oboist Giovanni Battista Sammartini, again in Amsterdam by the same printing house whose concerto in A, J-C 76, is an example of of Michel Charles Le Cène, whom Locatelli was the early sinfonia concertante, typically writ- later to befriend and assist as chief proof rea- ten in two fast movements and for multiple so- der. These concertos represent a blend of the loists. A similar work, the Concerto à più stro- Roman-style concerto grosso, (concerto da menti in Eb, J-C 74, is scored for 2 solo oboes, chiesa) and the three movement Venetian solo 2 solo violins, horns, trumpets, strings and con- concerto, (concerto for four violins). tinuo and is remarkably classical in style, given This set calls for the antiquated Venetian its date of composition in the early 1750s. use of parts for separate violas, two of whom Sammartini was the leading composer of the are used as soloists in the concerto da chiesa first school of symphonists, composing many where Locatelli amusingly writes “Where it says symphonies and much sacred music. He deve- solo, you must play a solo.” They are joined by loped from a neo-Vivaldian to a fully fledged two solo violins and solo cello with continuo in classical composer over the course of thirty true Roman fashion, though this combination years and was admired by many of his contem- also bears a striking resemblance to the earlier poraries.