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Concerti Da Camera 3 Import

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Product details

1. Con in F, RV97: Largo
2. Con in F, RV97: Allegro
3. Con in F, RV97: (Largo)
4. Con in F, RV97: Allegro
5. Con in D, RV94: Allegro
6. Con in D, RV94: Largo
7. Con in D, RV94: Allegro
8. Con in g, RV106: (Allegro)
9. Con in g, RV106: Largo
10. Con in g, RV106: Allegro
11. Con in D, RV93: (Allegro)
12. Con in D, RV93: Largo
13. Con in D, RV93: Allegro
14. Son in a, RV86: Largo
15. Son in a, RV86: Allegro
16. Son in a, RV86: Largo Cantabile
17. Son in a, RV86: Allegro Molto
18. Con in D, RV91: Allegro
19. Con in D, RV91: Largo
20. Con in D, RV91: Allegro Non Molto

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Amazon.com: 1 review
2 of 2 people found the following review helpful
Irresistible, volume 3 10 Oct. 2010
By Discophage - Published on Amazon.com
Format: Audio CD
Vivaldi's chamber concertos have everything that lovers of Vivaldi love in Vivaldi: the instrumental colors, the melodic invention, the breathtaking atmosphere in the slow movements, the irresistible verve and exuberant drive in the fast ones. Because they are "da camera" (chamber) doesn't mean they are small-scale or "Tafelmusik" suitable as background music for mealtimes. They are fully-fledged Vivaldi concertos, each with one or many predominant instrument(s) assuming the role of soloist. The recorder is featured in most, alone or with oboe, bassoon and/or violin. But this volume 3 opens with the extraordinary Concerto RV 97 for viola d'amore, two oboes, two hunting horns, bassoon and continuo, and it also features RV 93, an extraordinary concerto for lute. Music has produced endless and extraordinary beauties before and since, and I'd want to part with none, but when I hear the slow movement of that concerto, I wish for nothing more. The works don't sound "chamber" in the least, not in this recording. It is unbelievable the poetry Vivaldi (and Il Giardino armonico) is able elicit simply from recorder with ticking arpeggios from the accompanying lute and repeated notes from bassoon, in the slow movement of RV 94, track 6, and likewise in the slow movement of RV 106 (track 9), with its basso "hum-dum" tossed between bassoon and violin. So simple, so effective. In fact the lean textures of the chamber ensemble let you revel even more than in Vivaldi's fully-fledged concertos in the pleasures of timbral color. And the volubility of the bassoon in the fast movements is irresistible.

Il Giardino Armonico's first disc, in 1988, not yet on Teldec, was already a selection of those chamber concertos, recorded for Nuova Era (see my review of Antonio Vivaldi: Chamber Concertos - RV103 / RV105 / RV107 / RV101 / RV98 "La Tempesta di Mare" / RV86 - Il Giardino Armonico or Vivaldi: Concerti da Camera / Il Giardino Armonico, reissued on Concerti Da Camera or Concerti Da Camara with another recital by the ensemble). It was already excellent, but this recording of the complete concertos, made between 1990 and 1992, is even better: they have marginally more bite, drive and color. It also has stupendous sonic presence. I don't know if that's the way they played it in Vivaldi's time, but I sure am happy that it is the way they play it now.

And, despite the presence here of the extraordinary concertos with two hunting horns and lute, it's not even that I can recommend particularly one volume from the four as a "best" introduction. All these compositions are so exhilaratingly entertaining, it's like Scarlatti's Sonatas: if Vivaldi had composed 550 of them, I'd still be telling you to listen to all of them: each offers its rewards.

The other instalments in the series are Antonio Vivaldi: Concerti da Camera, Vol. 1 (Concerti, Op. 10) - Giovanni Antonini / Il Giardino Armonico, Antonio Vivaldi: Concerti da Camera, Vol. 2 - Il Giardino Armonico and Antonio Vivaldi: Concerti da Camera, Vol. 4 - Il Giardino Armonio. All four volumes have been reissued in a single box, Vivaldi: Concerti da Camera (Complete Recording).
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