EXTRA TIME This disc started life in 2015 whilst recording (he wrote over fifty). The music is a reworking Vivaldi’s Four Seasons. Having recorded all the of the sinfonia to the serenata Il Nome Glorioso Sinfonia to La Statira for 2 trumpets, 2 oboes, Concerto per Sua Maestà Cesarea e Cattolica, planned music 25 minutes ahead of schedule, for solo trumpet and strings that we recorded in strings & continuo in D for violin, strings & continuo in C, RV 171 I decided to try to do the impossible and record 2012 as part of the album by Night. This (1671–1751) Vivaldi’s Concerto per la Solennità di S. Lorenzo new version is transposed from C into D major 1 w Allegro [2.45] Allegro [4.32] (RV 286) in the remaining time. This concerto, and includes freshly written material for a pair 2 e Andante [3.14] Largo [2.36] one of several works written by Vivaldi for the of oboes and an extra trumpet. The highlight, 3 Allegro [1.35] r Allegro non molto [3.53] feast day of this saint, was supposed to have however, is Albinoni’s new slow movement which, Concerto per la Solennità di S. Lorenzo for violin, Concerto for violin, strings & continuo in B flat, been recorded as part of a collection of Vivaldi’s with its rare pizzicato bass, is one of the jewels strings & continuo in F, RV 286 RV 365 (late version) sacred works the previous year, but a cashflow in Albinoni’s crown. Antonio Vivaldi (1678–1741) Antonio Vivaldi problem meant that we had to opt instead for a 4 t Largo molto e spiccato [0.33] Allegro poco [5.16] much cheaper chamber programme, subsequently The Italian Job was unusual in that it needed 5 Andante molto [5.17] y Largo [3.54] released as Per Monsieur Pisendel 2. exceptionally large forces for a work by Torelli. 6 Largo [3.04] u Allegro [4.19] 7 Allegro non molto [5.03] As we had the rare luxury of four trumpets, Ballo from Act III of Cajo Marzio Coriolano (Antonio As there were only 25 minutes available to record drums, two oboes, and two bassoons in addition Concerto for violin, strings & continuo in G, Bre 9 Caldara) for 4 trumpets, timpani, 2 oboes, bassoon, a 13-minute concerto, we could only record the to the usual strings and continuo, I tagged a Giuseppe Antonio Brescianello (c.1690–1758) strings & continuo in C outer movements twice and the middle movement similarly-scored movement of a ballet suite from 8 Allegro [4.30] Nicola Matteis the Younger, once with a couple of extra patches. Both our Caldara’s 1722 Scipione nelle Spagne 9 Largo [2.17] completed by Adrian Chandler 0 Allegro [3.26] i Preludio [0.48] recording engineer Simon Fox-Gál and I were onto the end of these sessions. As with most o Entrèe [3.11] surprised by how good the results were; we’ve written for the imperial court of Charles q Balletto di Cavalieri Romani, Spagnuoli, [2.26] p Chiaconne [2.11] not managed this feat before or since! VI in , a different composer supplied the e Africani from Act III of Scipione nelle a Gigue [1.27] ballet suites that were normally positioned at Spagne (Antonio Caldara) for 4 s Tempo di Minuet [1.55] The next addition to the disc came about by the close of acts. From 1714 this duty fell to trumpets, timpani, 2 oboes, bassoon, d Loure [1.54] strings & continuo in C accident. In 2016, we recorded The Italian Job, the Anglo-Italian composer, Nicola Matteis the f Tempo di Minuet [2.09] Nicola Matteis the Younger (c.1678–1737) and (as I have done all too often) I overestimated Younger. Born around 1678, Matteis had grown Total timings: [72.14] the amount of music that was needed. The disc up in Purcell’s London and the English master’s was originally supposed to have included the music exerts a strong influence on Matteis’ LA SERENISSIMA sinfonia to La Statira by Albinoni, one of only style. It is likely that at least Matteis’ father ADRIAN CHANDLER DIRECTOR / VIOLIN three operas by the composer to survive complete knew as the two men were to www.signumrecords.com - 3 - have served together on the staff of the proposed composer Giuseppe Antonio Brescianello. We Sächsische Landesbibliothek, Dresden) including drafted in a fourth trumpet to record a whole Royal Academy in 1695, alongside Draghi, first encounter him in Venice working as a valet the present concerto in G. ballet suite by Matteis the Younger, this time Keller and Finger. for the exiled Electress of Bavaria. Following the from the final act of Caldara’s 1717 opera peace treaty that marked the end of the Wars of The final push to complete this disc came in 2019 Cajo Marzio Coriolano. In line with contemporary By now we had the makings of a (slightly Spanish Succession, the Electress returned to when, as part of our sessions for The Godfather, practice, I bolstered the violins and basses with eccentric) disc, particularly if you included a Munich in 1715 with Brescianello, now described we recorded Vivaldi’s Concerto per Sua Maestà oboes and bassoon and reconstructed a viola part later version of the Vivaldi violin concerto in as a violinist. The following year, Brescianello left Cesarea e Cattolica (RV 171), a work dedicated that is missing from the manuscript. We hope you B flat (RV 365). This concerto, that had never Munich to take the post of Director musices at the to the Holy Roman Emperor Charles VI. These agree that the rich brassy sonorities of this suite been recorded before (which is bizarre considering Württemberg Court in Stuttgart. In 1721 he was sessions needed three trumpets and drums for make for a suitably imperial finale to our disc. its high quality), was the last item on our 2011 promoted to the long-vacant post of Rath und works by Bach, Fasch and Telemann, so we © Adrian Chandler, December 2019 album Vivaldi: The French Connection 2. It was Oberkapellmeister, a position that he held not unusual for Vivaldi to rework or revisit his (apart from a period between 1737 and 1744) concertos in order to adjust the music for a until 1751 when he was pensioned off. different occasion, or perhaps for another soloist. These variants are often confined to obscurity, Most of Brescianello’s surviving output is usually because publishing houses print only the instrumental and shows a predominantly most obvious version. Considering the massive Vivaldian style. Given his apparent familiarity changes Vivaldi made to the finale of RV 365, with Vivaldi’s works (shown particularly in I thought that it was well worth recording. Brescianello’s Opus 1 publication) it would Until now, this version of the finale has only be surprising if he had not made Vivaldi’s been available as a download; the whole concerto acquaintance whilst in Venice. Brescianello with the alternative finale is included here. fuses Vivaldi’s energetic allegros and languid slow movements with a harmonic outlook that We now had about 50% of a disc so for our next is unreservedly German. One musician who was sessions, the first to take place in the magnificent particularly impressed by Brescianello’s music Cedars Hall at Wells Cathedral School in was Johann Georg Pisendel, a pupil of Vivaldi Somerset, I factored in time to record an extra and leader of the Dresden court orchestra. Several work. This period coincided with my growing of Brescianello’s concertos and sonatas survive interest in the music of the little-known Bolognese amongst the orchestra’s archives (now held at the

- 4 - - 5 - LA SERENISSIMA celebrated its 21st birthday in 2015 by recording Dittatore for the Buxton International Festival. Israel, Italy, Malta, Mexico and Spain to great Vivaldi’s Four Seasons (Manchester version). The A host of instrumental rarities feature in the acclaim. A long-standing affiliation with Martin La Serenissima was formed in 1994 for a record spent several weeks in the UK Specialist ensemble’s touring repertoire, many of which Randall Travel has enabled La Serenissima to performance of Antonio Vivaldi’s La Sena Classical Chart, featured as ‘Editor’s Choice’ have been committed to disc. perform numerous bespoke programmes at festeggiante and has now firmly established Gramophone Magazine, ‘Concerto Choice’ BBC music festivals throughout Europe. itself as one of the leading exponents of the Music Magazine, voted ‘Classical Album of the La Serenissima has appeared at many of the music of eighteenth-century Venice and Year’ by the Irish Times and ranked in the Top 3 UK’s leading festivals including Bath, Beverley, La Serenissima is privileged to have the connected composers. The entire repertoire of Picks of Radio 3’s ‘Building a Library – The Four Buxton, Cheltenham, Lichfield, South Bank, support of its Honorary Patron, His Excellency La Serenissima is edited by director Adrian Seasons’ from a catalogue of albums dating Spitalfields, Swansea and York Early Music, The Italian Ambassador to the UK. Follow La Chandler from manuscript or contemporary back to the 1940s. The ensemble’s 2018 release and venues including St George’s Bristol, Snape Serenissima on Twitter @LaSerenissimaUK, printed sources, a testament to its vision to Vivaldi x2 was a disc of double concertos for pairs Maltings, Cadogan Hall, St John’s Smith Square Instagram and on Facebook; visit the website enrich life by sharing its passion for Italian of horns and oboes, and violin and cello, which and Wigmore Hall. The group has also performed www.laserenissima.co.uk for up-to-date news. . spent many weeks in the Classical Chart, and in Belgium, Estonia, France, Germany, Ireland, achieved wide recognition: ‘They really put the Since its first CD release in 2003, La Serenissima rock into baroque!’ John Suchet, Classic FM. The has been universally applauded by publications 2019 release on the Signum label The Godfather including BBC Music Magazine, Diapason, also featured in the UK Classical Chart and Gramophone Magazine, The Guardian, The attracted outstanding reviews, with Gramophone Sunday Times, Fanfare Magazine, American Magazine’s critic writing ‘Bright, clear, open Record Guide, The Strad, La Stampa and and gloriously brassy …. all is light and Goldberg Magazine. Its records have been energy …. it is nothing short of magnificent’. nominated many times for Gramophone Awards, included in an elite Forbes List and featured The ensemble prides itself on bringing seldom- in the 2019 film Portrait de la jeune fille en feu heard works to the concert platform, including (Portrait of a lady on fire). In 2010 the group’s Vivaldi’s operas , , release Vivaldi: The French Connection was , , Catone in Utica, awarded the Gramophone Award for Best Baroque L’Olimpiade and , and it has recently Instrumental CD and their 2017 release The given the UK premieres of Brescianello’s opera

Italian Job repeated this success. La Serenissima pastorale Tisbe and Caldara’s Lucio Papirio © Eric Richmond

- 6 - - 7 - ADRIAN CHANDLER Adrian’s extensive discography with La Gramophone Magazine’s critic wrote ‘Chandler’s Serenissima, which documents his unique wheeling and diving solo violin – all is light Born on Merseyside in 19741, Adrian Chandler editorial and research activities, features virtuoso and energy ….nothing short of magnificent’. is recognised internationally as a leading sonatas by Albinoni, Pisendel and Vivaldi, Vivaldi Adrian’s recordings received Gramophone interpreter of Italian baroque music. He was concertos, arias and cantatas, three discs Award nominations in 2008, 2009 and 2012; introduced to Vivaldi’s Four Seasons at the charting the development of the North Italian the CDs Vivaldi: The French Connection and age of ten via a broadcast by Iona Brown and violin concerto, and The Four Seasons. His CDs The Italian Job won Gramophone Awards in the Academy of St Martin in the Fields: the Venice by Night, Vivaldi: A Tale of Two Seasons the Baroque Instrumental category in 2010 experience resulted in a lifetime’s dedication to and Vivaldi x2 have all featured in the Top 10 and 2017 respectively. Italian baroque music. While still a student at of the UK Classical Charts, as did his 2019 London’s Royal College of Music, Adrian founded release on Signum The Godfather, about which 1 hence his life-long passion for Everton Football Club the ensemble La Serenissima which he has subsequently directed in multiple programmes at high-profile UK venues (from Bridgewater to Wigmore halls), and internationally for major festivals (from Belgium to Mexico) and prestigious concert series (from Denmark to Spain). Adrian has directed seven Vivaldi operas for La Serenissima, in Bath, Buxton, London, Venice and Eilat (Israel), and has directed UK premieres of Brescianello’s only opera Tisbe and Caldara’s masterpiece Lucio Papirio Dittatore for the © Stephen Page, Fatkoala Images Buxton International Festival projects during 2020-2021. Adrian was awarded a three-year Arts and Humanities Research As guest director, he has played Bach and Council fellowship at Southampton University Vivaldi at the Oslo Chamber Music Festival and to research the development of the North Italian toured with the Norwegian Wind Ensemble. He violin concerto between 1690 and 1740, and has been invited as Guest Director by Deutsche subsequently held a two-year post as a Turner Philharmonie Merck and Concerto Copenhagen for Sims Professor at the University. Adrian Chandler and Simon Fox-Gál

- 8 - - 9 - PERFORMERS 8 - 0 Brescianello Concerto for violin in G, Bre 9 Recorded at Cedars Hall, Wells on Thursday 15 February 2018 1 - 3 Albinoni Sinfonia to La Statira Recorded at St John’s Smith Square, London on Thursday 25 August 2016 Violin 1 Adrian Chandler (soloist), Oliver Cave, Joanne Green, Guy Button Violin 2 Camilla Scarlett, Simon Kodurand, Ellen Bundy, Justyna Skatulnik Trumpet Simon Munday, Matthew Wells Viola Jane Rogers, James O’Toole, Thomas Kirby Oboe Gail Hennessy, Rachel Chaplin Cello Vladimir Waltham (continuo), Carina Drury Violin 1 Adrian Chandler, Guy Button, Simon Kodurand, Oakki Lau Double bass Pippa Macmillan Violin 2 Camilla Scarlett, Christiane Eidsten Dahl, Claudia Norz, Katie Holmes Theorbo Lynda Sayce Viola Elitsa Bogdanova, James O’Toole, Aliye Cornish Harpsichord Joseph McHardy Cello Gareth Deats (continuo), Vladimir Waltham Bass Carina Cosgrave Keyboard supplied by Malcolm Greenhalgh & tuned by Joseph McHardy Theorbo Alex McCartney Harpsichord Robert Howarth q Matteis Balletto di Cavalieri Romani Recorded at St John’s Smith Square, London on Friday 26 August 2016 Keyboard supplied by Malcolm Greenhalgh & tuned by Robert Howarth Trumpet Simon Munday, Matthew Wells, Paul Sharp, Ross Brown 4 - 7 Vivaldi Concerto per la Solennità di S. Lorenzo, RV 286 Timpani Scott Bywater Recorded at The Hospital of St Cross, Winchester on Friday 24 April 2015 Oboe Gail Hennessy, Rachel Chaplin Bassoon Peter Whelan Violin 1 Adrian Chandler (soloist), Kathryn Parry, Dan Edgar, Guy Button Violin 1 Adrian Chandler, Guy Button, Simon Kodurand, Oakki Lau Violin 2 Camilla Scarlett, Christiane Eidsten Dahl, Oakki Lau, Claudia Norz Violin 2 Camilla Scarlett, Christiane Eidsten Dahl, Claudia Norz, Katie Holmes Viola Elitsa Bogdanova, James O’Toole, Katie Stevens Viola Elitsa Bogdanova, James O’Toole, Aliye Cornish Cello Gareth Deats (continuo), Vladimir Waltham Cello Gareth Deats (continuo), Vladimir Waltham Bass Carina Cosgrave Bass Carina Cosgrave Theorbo Lynda Sayce Theorbo Alex McCartney Harpsichord Robert Howarth Harpsichord Robert Howarth

Keyboard supplied by Malcolm Greenhalgh & tuned by Robert Howarth Keyboard supplied by Malcolm Greenhalgh & tuned by Robert Howarth

- 10 - - 11 - w - r Vivaldi Concerto per Sua Maestà Cesarea e Cattolica, RV 171 i - f Matteis Ballo from Cajo Marzio Coriolano Recorded at Cedars Hall, Wells on Thursday 14 February 2019 Recorded at Cedars Hall, Wells on Tuesday 12 February & Thursday 14 February 2019

Violin 1 Adrian Chandler (soloist), Oliver Cave, Agata Daraskaite, Guy Button Trumpets Simon Munday, Matthew Wells, Paul Sharp, Ross Brown Violin 2 Camilla Scarlett, Simon Kodurand, Claudia Norz, Ellen Bundy Timpani Tommy Foster Viola Elitsa Bogdanova, James O’Toole, Thomas Kirby Oboes Rachel Chaplin, Mark Baigent Violoncello Vladimir Waltham (continuo), Carina Drury Bassoon Inga Maria Klaucke Double bass Carina Cosgrave Violin 1 Adrian Chandler, Oliver Cave, Agata Daraskaite, Guy Button Theorbo Lynda Sayce Violin 2 Camilla Scarlett, Simon Kodurand, Claudia Norz, Ellen Bundy Harpsichord Giulia Nuti Viola Elitsa Bogdanova, James O’Toole, Thomas Kirby Violoncello Vladimir Waltham (continuo), Carina Drury Keyboard supplied by Malcolm Greenhalgh & tuned by Giulia Nuti Double bass Carina Cosgrave Theorbo Lynda Sayce t - u Vivaldi Concerto for violin, strings & continuo, RV 365 Harpsichord Giulia Nuti Recorded at The Hospital of St Cross, Winchester from 8 to 11 February 2011 Keyboard supplied by Malcolm Greenhalgh & tuned by Giulia Nuti Violin 1 Adrian Chandler (soloist), Kathryn Parry, Leonie Curtin, Lisa Öberg Violin 2 Simon Kodurand, Camilla Scarlett, Oakki Lau, Liv-Marie Fletcher Viola Peter Collyer, Malgosia Ziemkiewicz, James O’Toole Cello Gareth Deats (continuo), Aoife Nicathlaoich Bass Carina Cosgrave Theorbo Thomas Dunford Harpsichord Robert Howarth

Keyboard supplied by Ed Pickering & tuned by Robert Howarth

- 12 - - 13 - The release of this CD has been made possible by a grant from The Orchard Trust. If you would like to support future La Serenissima recordings please contact Camilla Scarlett, [email protected] to discuss ways you can help.

Recording Engineer, Producer & Editor – Simon Fox-Gál

Cover Image – © Nick White Design and Artwork – Woven Design www.wovendesign.co.uk

P 2020 The copyright in this sound recording is owned by La Serenissima © 2020 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

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- 14 - - 15 - ALSO AVAILABLE on signumclassics

The Godfather: Masters of the German & Italian Baroque Adrian Chandler director/violin La Serenissima SIGCD602

“Bright, clear, open and gloriously brassy, with expansive but controlled windplaying, rat-a-tat drumming and boldly projected string sound led by Chandler’s wheeling and diving solo violin – all is light and energy. In places it is nothing short of magnificent.” Gramophone

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

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