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Vivaldi: Recorder Concertos
 
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Vivaldi: Recorder Concertos

22 Feb 2013 | Format: MP3

£6.49 (VAT included if applicable)
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Song Title
Time
Popularity  
1
4:08
2
2:16
3
3:06
4
2:40
5
2:46
6
2:10
7
2:50
8
2:07
9
2:08
10
1:59
11
3:05
12
2:25
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3:35
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3:20
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3:04
16
1:47
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5:00
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2:43
19
3:27
20
3:48
21
3:43
22
2:48


Product details

  • Original Release Date: 1 Oct 2009
  • Label: Brilliant Classics
  • Copyright: 2012 Brilliant Classics
  • Total Length: 1:04:55
  • Genres:
  • ASIN: B00BYV16XE
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 193,606 in MP3 Albums (See Top 100 in MP3 Albums)

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Most Helpful Customer Reviews

7 of 7 people found the following review helpful By Jon Chambers VINE VOICE on 24 May 2010
Format: Audio CD Verified Purchase
Yes, it's an economy label, its soloist is no more a household name than the ensemble and it's got a daft picture on the cover. But in most other respects, this CD can be enthusiastically endorsed. Vivaldi's recorder concertos form an attractive if somewhat marginalised part of his output and they are presented here with real zest and imagination. What's more, they are at least played on the right instruments!

The latest research has thrown much-needed light on this facet of Vivaldi's repertoire. In a hugely significant book (Ashton, 2008) Federico Maria Sardelli argues that the three concertos for flautino, two of which are recorded here, were intended for the sopranino recorder - the smallest member of the recorder family - and not, as others have suggested, for the side-blown piccolo, flageolet/flasolet, fife or anything else. His work should end the controversy that has muddied the waters since 1964, when the American musicologist Dale Higbee identified the flautino as a piccolo transverse flute. Erik Bosgraaf's sopranino negotiates the stratospheric and sometimes dizzyingly rapid passages that characterise these works.

The concertos for the more common alto recorder introduce a mellower timbre. Although not such a bravura piece, the Concerto in c, RV443, is probably the most distinguished (and challenging) of them all, while the two programmatic concertos, La notte and Tempesta di mare, both derived from earlier chamber concertos, offer something more akin to The Four Seasons in their suggestion of a narrative. In La notte, the dreams, mysteries and nightmares of night are musically alluded to in one of Vivaldi's most engrossingly original compositions.
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