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VIVALDI CONCERTI PER FlaUTO GIOVANNI ANTONINI IL GIARDINO ARMONICO MENU › TRACKLIST › ENGLISH › FRANÇAIS › DEUTSCH ANTONIO VIVALDI (1678-1741) CONCERTO IN DO MAGGIORE PER FLAUTINO, ARCHI E B.C. RV 444 1 I. Allegro non molto 4’09 2 II. Largo 1’45 3 III. Allegro molto 2’42 CONCERTO IN FA MAGGIORE OP.X NR.1 PER FLAUTO, ARCHI E b.c. “la TEMPESTa di mare” RV 433 4 I. Allegro 2’12 5 II. Largo 1’41 6 III. Presto 1’49 CONCERTO IN DO MAGGIORE PER FLAUTINO, ARCHI E B.C. RV 443 7 I. (Allegro) 3’37 8 II. Largo 4’55 9 III. Allegro molto 2’33 10 “cum dederit” PER CHALUMEAU E B.C. DAL “nisi dominus” RV 608 5’06 CONCERTO IN DO MINORE PER FLAUTO, ARCHI E B.C. RV 441 11 I. Allegro non molto 4’41 12 II. Largo 2’14 13 III. (Allegro) 3’39 CONCERTO IN LA MINORE PER FLAUTINO, ARCHI E B.C. RV 445 14 I. Allegro 4’14 15 II. Larghetto 2’14 16 III. Allegro 3’16 CONCERTO IN FA MAGGIORE PER FLAUTO, ARCHI E B.C. “tutti gl’ istromenti sordini” RV 442 17 I. Allegro non molto 3’16 18 II. Largo e Cantabile 3’44 19 III. Allegro 1’48 TOTAL TIME: 59’45 GIOVANNI ANTONINI FLAUTI, CHALUMEAU E DIREZIONE MUSICALE flautinoF ulvio Canevari, 1989 flauto contraltoF ulvio Canevari, 1987 flauto contraltoF ulvio Canevari, metà anni ‘80 del XX secolo (per gentile concessione di Tonino Labollita) chalumeau Peter van der Poel ENRICO ONOFRI VIOLINO [ RV 433, RV 441, RV 443, RV 444] anonimo italiano, inizio 1700 IL GIARDINO ARMONICO STEFANO BARNESCHI VIOLINO [“Cum dederit”, RV 442, RV 445] Giacinto Santagiuliana, Vicenza 1830 VIOLA [RV 433, RV 441, RV 443, RV 444] Federico Lowenberger, Genova 2002 (copia F.lli Amati, Cremona 1592) MARCO BIANCHI VIOLINO Attribuito a Giovanni Grancino, Milano inizio 1700. LIANA MOSCA VIOLA [“Cum dederit”, RV 442, RV 445] Scuola Lorenzo Storioni, fine 1700 PAOLO BESCHI VIOLONCELLO [RV 433, RV 441, RV 443, RV 444] Carlo Antonio Testore, Milano 1754 MARCELLO SCANDELLI VIOLONCELLO [“Cum dederit”, RV 442, RV 445] Katzumiztu Nakamura, Cremona 1970 (copia Stradivari) GIANCARLO DE FRENZA VIOLONE Roberto Paol’Emilio, Pescara 2005 (copia Gasparo da Salò, 1590) MARGRET KÖLL ARPA BAROCCA [RV 433, RV 441, RV 443, RV 444] copia da “Arpa Barberini” presso il Museo degli Strumenti Musicali di Roma, Eric Kleinmann, Rangendingen 2007 EVANGELINA MASCARDI TIORBA Francisco Hervàs, Granada 1997 RICCARDO DONI CLAVICEMBALO Italiano di Ugo Casiglia 2007 (copia Giusti inizio 1700) › MENU H LIS VIVALDI ENG FLUTE AND RECORDER CONCERTOS BY GABRIELE FORMENTI Vivaldi’s contribution to the flute and recorder repertoire is well-known today and shows that he had far more than a passing interest in instruments that supposedly established themselves relatively late in Italy, compared to other leading European nations. The composer’s catalogue tells the true story, and it is worth remembering that this catalogue itself is still not considered complete, given recent musicological discoveries and the dedicated work of primarily Italian Vivaldi scholars committed to hunting down new sources or resolving cases of doubtful attribution. This vast but exciting task has uncovered no fewer than 92 compositions for “flauto”, which in its broadest sense in Italian can refer to different types of recorder, the (transverse) flute or the flageolet. The Concerto, RV 444 which opens this recording is one of a trio of works written for the flautino, or sopranino recorder. It begins in the light-filled key of C major and, with its virtuosic writing, is clearly designed to showcase the extraordinary gifts of the soloist. Interestingly enough, Vivaldi left instructions in the sopranino concerto manuscripts about transposing the music down a fourth, enabling the solo part to be played instead by the descant (soprano) recorder in C. For this recording, however, the artists have opted for the original sopranino versions. There are a number of similarities between RV 444 and the other two sopranino concertos on this recording – RV 443 [7–9] and RV 445 [14–16]: in each case the slow central movement is in the relative minor and notable for its expansive melodic writing, in contrast with the extreme virtuosic demands of the fast outer movements. H LIS Even today, music historians continue to underline the pioneering nature of Vivaldi’s Opus 10 ENG – the first printed collection of music by an Italian composer written expressly for the transverse flute. This recording features a performance of La“ tempesta di mare”, RV 433 (“The storm at sea”; a reworking of an earlier chamber concerto, RV 98), the concerto with which Vivaldi decided to open his Op.10, published by Le Cène of Amsterdam in 1729. Written in F major, it is a significant work in several respects, starting of course with the programmatic title, which sets the general scene for the work. It is also very demanding for the soloist, F major being a difficult key for the flute. In fact, close analysis of the keys used in Op.10 enables us today to contend that some of its concertos were designed to be performed on the treble (alto) recorder (flauto contralto). Supporting this assertion in the case of RV 433 is the fact that the solo part never goes below the F above middle C (the lowest note possible on a treble recorder, whereas the flute could go down to a D). On this recording, therefore, we hear the recorder in this concerto, whose writing throughout is perfectly idiomatic for the latter instrument. Vivaldi’s Nisi Dominus in G minor, RV 608 is one of the masterpieces of his sacred production. Written for solo alto, probably in around 1716, it alternates faster and slower movements – nine in all. On this recording we hear the “Cum dederit” movement [10], with the voice replaced by an unusual instrument: the chalumeau. A single-reed instrument, this was the predecessor of the clarinet developed by instrument-maker J. Denner at the turn of the eighteenth century. Vivaldi had a particular affinity for the chalumeau – it is worth recalling that during this period it was often paired with the human voice, as heard for example in works by Caldara and Vivaldi himself (it plays a notable role in his oratorio Juditha triumphans). The instrument used here is an alto chalumeau. RV 441 is one of the concertos written specifically for recorder and orchestra, forming a pair with its twin, RV 442. Both have close associations with other music by Vivaldi: RV 441 (a late work, characterised by a certain darkness of tone) is directly related to a violin H LIS concerto featuring the same thematic idea, while there are similarities between RV 442 ENG and the “Cum dederit” movement of the Nisi Dominus, as well as thematic links with at least two other vocal works. RV 442 is also closely linked to Vivaldi’s printed set of flute concertos, whose significance has already been noted. It was adapted by the composer for the Op.10 collection, both versions being written in F major, and conjures an atmosphere of great serenity and calm, as suggested by the indication at the head of the score, “Tutti gl’istromenti sordini” (all instruments muted). H LIS GIOVANNI ANTONINI ENG Born in Milan, Giovanni studied at the Civica Scuola di Musica and at the Centre de Musique Ancienne in Geneva. He is a founder member of the ensemble Il Giardino Armonico, which he has led since 1989 and with whom he has given concerts worldwide. He works with artists such as Cecilia Bartoli, Giuliano Carmignola, Isabelle Faust, Sol Gabetta, Patricia Kopatchinskaja, Katia e Marielle Labèque,Viktoria Mullova and Giovanni Sollima. Giovanni is Principal Guest Conductor of Kammerorchester Basel and Mozarteum Orchester Salzburg and regularly guest conducts orchestras such as the Berliner Philharmoniker, Concertgebouworkest Amsterdam, London Symphony, Chicago Symphony, Tonhalle Orchester Zurich. He has conducted numerous opera productions at La Scala, Theater an der Wien, Salzburg Festival and Opernhaus Zurich. He has recorded for Teldec, Decca, Sony BMG, Naïve, Harmonia Mundi and Alpha. Giovanni is Artistic Director of the Wratislavia Cantans Festival (www.wratislaviacantans.pl) and the Haydn 2032 project, created to perform and record the entire symphonies of Franz Joseph Haydn by the 300th anniversary of his birth. H LIS IL GIARDINO ARMONICO ENG Founded in 1985 and directed by Giovanni Antonini, Il Giardino Armonico has become established as one of the world’s leading period instrument ensembles. Its repertoire focuses on the seventeenth and eighteenth centuries. Il Giardino Armonico has received high acclaim or both concerts and opera productions, including Monteverdi’s l’Orfeo, Vivaldi’s Ottone in Villa, Händel’s Agrippina, Il Trionfo del Tempo e del Disinganno, La Resurrezione, and Giulio Cesare in Egitto with Cecilia Bartoli during the Salzburg Whitsun and Summer Festival 2012. In co-production with the National Forum of Music in Wrocław (Poland) the group released Serpent & Fire with Anna Prohaska (Alpha Classics – Outhere Music, 2016) which won the ICMA ‘Baroque vocal’ award in 2017 and La Morte della Ragione in 2019 which won the Diapason d’Or and ‘Choc’ de Classica. Also on Alpha Classics the group will release with Patricia Kopatchinskaja a volume focusing on Vivaldi and selected Italian contemporary composers. Their Telemann album won the Diapason d’Or de l’année and the Echo Klassik in 2017. Il Giardino Armonico is part of the twenty-year project Haydn2032 for the recording of the complete Haydn Symphonies (Alpha Classics) and a series of thematic concerts across Europe. In 2015 La Passione won the Echo Klassik while Il Filosofo was awarded a ‘Choc de l’année’ by Classica.