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FOUR SEASONS

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In 2006 La Serenissima released it's superb debut recording featuring two world premiere recordings. Now, that album is being reissued. L'Amore per Elvira, written for the Mantuan court around 1716-20, consists of three cantatas, each featuring soprano Mhairi Lawson. In Tremori al braccio, RV 799 the lover, Fileno, trembles at his inability to confess his love to Elvira, only overcoming his reticence in the finale. In the second work Elvira, anima mia, RV 654, Fileno bears the sad tidings to Elvira that he must leave for a while and asks for one last kiss before he leaves. In the final work, Lungi dal vago volto, RV 680, the returning Fileno spies Elvira in the distance and he finally reaches her in the happy concluding aria. The two 'Graz' sonatas, housed in the Diozesanarchiv in Graz, are presented here for the first time. Their brass parts, which were previously missing, have been carefully reconstructed by Adrian Chandler in order to make this recording possible. The final work, the Sonata in C minor for violin and cello, RV 83, represents the only sonata of this type known to have been written by Vivaldi and is notable for it's three-movement concerto layout. Celebrating it's 25th anniversary in 2019 La Serenissima, led by violinist Adrian Chandler, is recognized as the UK's leading exponent of the music of eighteenth century Venice and connected composers.

Federico Maria Sardelli is perhaps one of the word’s most notable experts of Vivaldi music as well as a versatile and gifted artist (he’s a painter, a novelist, a conductor, a composer and a musicologist). He wrote many books about Vivaldi including a prize-winning novel. Twice nominated for the Grammy Awards (in 1996 and 1999), since 2007 he has been in charge of the Vivaldi catalogue (The Ryom Vivaldi Werkverzeichnis). He is the founder and the director of the baroque ensemble "Modo Antiquo". The Russian violinist Anton Martynov completes this remarkable cast for an outstanding Vivaldi. The ensemble Modo Antiquo performs here with aplomb alongside Martynov and Sardelli. Modo Antiquo is a protagonist of the current Vivaldi renaissance, having premiered on stage and in recording operas such as Arsilda, Tito Manlio, and others. Committed to the divulgation of Vivaldi’s rarest and unpublished operas, Modo Antiquo regularly records the latest rediscoveries as world premiere recordings.

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Vivaldi: The Four Seasons, Op. 8 (Arr. N. Hrustanbegovic)

Sophie Dervaux's new album "Vivaldi Bassoon Concertos" is part of her larger project to record all of 39 of Vivaldi's bassoon concertos. This album presents the first 6 concertos of this journey; RV474, RV497, RV481, RV501, RV484, and RV473. Apart from the violin, Vivaldi wrote as many concertos for no other instrument than the bassoon, knowing expertly how to write for this instrument to highlight it's unique qualities. Vivaldi's concertos have accompanied Dervaux throughout her musical career, from her beginning with the bassoon in her youth to now being a member of the Vienna Philharmonic. Sophie Dervaux recorded this album with the Barock orchestra La Folia and their leader Robin Peter M�ller, playing a modern instrument as she feels this is how she herself can offer the best version of her interpretation to the listener.

Vivaldi was already a renowned opera composer in Venice and throughout Italy, but he gained exceptional notoriety throughout Europe when the concerti constituting his Quattro Stagioni were published in Amsterdam. These theme concertos, which embraced the imagination of Arcimboldo, gained top billing in private and public concerts. But their composition for solo violin has impressive virtuosity and expression: Stefan Plewniak becomes both unchained and sensual in them, not giving the Orchestre de l'Opéra Royal any opportunity for respite in intensely sounding out these seasons that are so emblematic of Baroque Europe!

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Nobody could challenge the fact that Vivaldi loved the Bassoon: his 39 concerts are the proof of it. There is no doubt that the mellow and warm resonance of the Bassoon, it's technical elasticity, and it's potential expressiveness come together harmoniously in these musical jewels. Was it due to the fashion of the time or the need to satisfy a patron that these were written and printed for the string instrument? It is difficult to say. However, we should never forget that authors such as Galliard, Boismortier, Corrette, etc. Published their Sonatas with the captions: "for cello and bassoon," "for bassoon and cello," and "for cello, viola, and bassoon." They would not limit their execution to one single instrument: the composition itself would leave the option open. The compositions of Geminani, Boccherini, Breval, and others would not allow this possibility: the constant use of chords and the range would impose the string instrument. In these six Sonatas by Vivaldi too, we find the use of some chords and bichords, but these seem to be added to justify the caption "Sonatas for Cello" rather than for a real musical necessity. Bassoonist Mauro Monguzzi beautifully performs these works alongside pianist Walter Mammarella Giordano.

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