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Track Listings
| Disc: 1 |
|---|
| 1. Concerto No. 1 in C major, RV 181a |
| 2. Concerto No. 2 in A major, RV 345 |
| 3. Concerto No. 3 in G minor, RV 334 |
| 4. Concerto No. 4 in E major, RV 263a |
| 5. Concerto No. 5 in A minor, RV 358 |
| 6. Concerto No. 6 in A major, RV 348 |
| Disc: 2 |
| 1. Concerto No. 7 in B-flat major, RV 359 |
| 2. Concerto No. 8 in D minor, RV 238 |
| 3. Concerto No. 9 in B-flat major, RV 530 |
| 4. Concerto No. 10 in G major, RV 300 |
| 5. Concerto No. 11 in C minor, RV 198a |
| 6. Concerto No. 12 in B minor, RV 391 |
Product Description
Review
What I like most of all is her evident relish of the virtuoso demands that the music makes, she rises splendidly to them, making the most of Vivaldi's extravagant writing. --Gramophone Awards 2003
Podger has one of the sweetest tones of any period-instrument violinist - Vivaldi: La Stravaganza. --BBC MUSIC MAGAZINE - Bach: Violin Concertos
Podger in Holland for the 1727 La cetra set. La cetra ( The Lyre ) was published in Amsterdam in 1727, dedicated to the Austrian emperor, Charles VI. (Confusingly, another manuscript set of 12 concertos, from the following year and likewise dedicated to Charles, are also called La cetra.) The familiar ingredients of Vivaldi's concerto style are well established by this stage in his career; there are perhaps two or three concertos where the elements are put together in a rather superficial way but the set as a whole demonstrates Vivaldi's remarkable ability to find continually renewed inspiration in writing for solo violin with string orchestra. (Just one work, No 9 in B flat, a spirited, airy double violin concerto, changes the setting.) My particular favourites are No 3, with its elaborate orchestral tuttis in the outer movements, No 5, which has an unusual, tempestuous character, the seriousminded No 8, with its elaborate, sonorous writing for strings, and, perhaps best of all, the last concerto in B minor. One of two in which the solo violin plays scordatura (with nonstandard tuning), it's notable for its attractive melody and continual inventiveness. A few years ago I was impressed, listening to the Holland Baroque Society's disc of music by Georg Muffat, directed by Matthew Halls (A/08), by their youthful verve. With Rachel Podger in charge, their enthusiasm is undimmed, and there's a wholehearted commitment to projecting the character of each movement and to articulating the shape of every phrase. Even what might seem to be mundane accompaniment figures have an expressive nuance that gives positive support of the solo line. Podger plays with her customary beauty of tone, purity of tuning and lively variety of articulation. Her melodic decorations in the slow central movements give a delightfully unforced, spontaneous impression. The performances take a few liberties. I love the way that at the start of the First Concerto, the repeated chord pattern is extended backwards, providing a sort of young person's guide to the basso continuo , as organ, harpsichord, double bass and guitar enter one by one. And Podger's elaboration of the chordal introduction to the Fifth Concerto immediately establishes the work's dramatic character. I'm not so sure about what sounds like a mandolin obbligato in the Largo of the Second Concerto (or is it just harpsichord?). It's a delightful sound but draws attention away from the violin melody. Still, these are brilliant, energetic performances, full of genuine Vivaldian spirit and excitement. --Gramophone
Unlike some of her continental rivals Podger's light bowing and well-judged tempos effortlessly discover the tenderly poetic content of Vivaldi's music, and here that dimension is abundant...Podger's playing radiates expressive warmth and we can only delight in the spontaneous rapport that she feels with the mature idiom of these wonderful concertos.August 2012. --BBC Music Magazine
The music world is inestimably the better for Rachel Podger...Everything she touches comes to life in a way that is not only satisfying musically but also representative of the human spirit at its most vital...Podger reveals unexpected depth and variety of expression in the music...Podger wears her virtuosity lightly, and the relationship with the Holland Baroque Society players is clearly one of mutual inspiration.14th July 2012. --The Financial Times
The variety of Op 9 astounds the ear,especially in these feisty readings,which emphasise the folksy roots of the dance movements and lend them an almost funky modernity.The highlight here is the B flat major double concerto with Judith Steenbrink as second soloist.24th June 2012. --The Sunday Times
Personality and charisma can easily be found in Rachel Podger's account of Vivaldi's violin concertos...the elegant energy in her phrasing is adorable...contrasts are vivid,the drama is considerable,and the orchestra's sonic tapestries bring their own special joy.22nd June 2012. --The Times
Podger has one of the sweetest tones of any period-instrument violinist - Vivaldi: La Stravaganza. --BBC MUSIC MAGAZINE - Bach: Violin Concertos
Podger in Holland for the 1727 La cetra set. La cetra ( The Lyre ) was published in Amsterdam in 1727, dedicated to the Austrian emperor, Charles VI. (Confusingly, another manuscript set of 12 concertos, from the following year and likewise dedicated to Charles, are also called La cetra.) The familiar ingredients of Vivaldi's concerto style are well established by this stage in his career; there are perhaps two or three concertos where the elements are put together in a rather superficial way but the set as a whole demonstrates Vivaldi's remarkable ability to find continually renewed inspiration in writing for solo violin with string orchestra. (Just one work, No 9 in B flat, a spirited, airy double violin concerto, changes the setting.) My particular favourites are No 3, with its elaborate orchestral tuttis in the outer movements, No 5, which has an unusual, tempestuous character, the seriousminded No 8, with its elaborate, sonorous writing for strings, and, perhaps best of all, the last concerto in B minor. One of two in which the solo violin plays scordatura (with nonstandard tuning), it's notable for its attractive melody and continual inventiveness. A few years ago I was impressed, listening to the Holland Baroque Society's disc of music by Georg Muffat, directed by Matthew Halls (A/08), by their youthful verve. With Rachel Podger in charge, their enthusiasm is undimmed, and there's a wholehearted commitment to projecting the character of each movement and to articulating the shape of every phrase. Even what might seem to be mundane accompaniment figures have an expressive nuance that gives positive support of the solo line. Podger plays with her customary beauty of tone, purity of tuning and lively variety of articulation. Her melodic decorations in the slow central movements give a delightfully unforced, spontaneous impression. The performances take a few liberties. I love the way that at the start of the First Concerto, the repeated chord pattern is extended backwards, providing a sort of young person's guide to the basso continuo , as organ, harpsichord, double bass and guitar enter one by one. And Podger's elaboration of the chordal introduction to the Fifth Concerto immediately establishes the work's dramatic character. I'm not so sure about what sounds like a mandolin obbligato in the Largo of the Second Concerto (or is it just harpsichord?). It's a delightful sound but draws attention away from the violin melody. Still, these are brilliant, energetic performances, full of genuine Vivaldian spirit and excitement. --Gramophone
Unlike some of her continental rivals Podger's light bowing and well-judged tempos effortlessly discover the tenderly poetic content of Vivaldi's music, and here that dimension is abundant...Podger's playing radiates expressive warmth and we can only delight in the spontaneous rapport that she feels with the mature idiom of these wonderful concertos.August 2012. --BBC Music Magazine
The music world is inestimably the better for Rachel Podger...Everything she touches comes to life in a way that is not only satisfying musically but also representative of the human spirit at its most vital...Podger reveals unexpected depth and variety of expression in the music...Podger wears her virtuosity lightly, and the relationship with the Holland Baroque Society players is clearly one of mutual inspiration.14th July 2012. --The Financial Times
The variety of Op 9 astounds the ear,especially in these feisty readings,which emphasise the folksy roots of the dance movements and lend them an almost funky modernity.The highlight here is the B flat major double concerto with Judith Steenbrink as second soloist.24th June 2012. --The Sunday Times
Personality and charisma can easily be found in Rachel Podger's account of Vivaldi's violin concertos...the elegant energy in her phrasing is adorable...contrasts are vivid,the drama is considerable,and the orchestra's sonic tapestries bring their own special joy.22nd June 2012. --The Times
Product Description
CHN 33412; CHANNEL CLASSICS - Olanda; Classica Orchestrale per violino
Customer Reviews
Most Helpful Customer Reviews
15 of 15 people found the following review helpful
By enthusiast
TOP 500 REVIEWER
Format:Audio CD|Amazon Verified Purchase
I try not to comment on a CD until I have lived with it for a while but, although I have only had this for less than a month, I have listened to it a lot and feel ready to say what I think. I suppose I can always come back to edit this review if I do change my mind but I'm not expecting to.
Rachel Podger's earlier Vivaldi set - the Opus 4 concertos ("La Stravaganza") - was an astonishing and unforgettable. Big Vivaldi played in a an extrovert way and with Podger's ravishing tone to the fore. This present set is rather different. "La Cetra" (Opus 9) is a set of later concertos which are more muted and more varied than the Vivaldi Opuses that we are better acquainted with. Indeed variety and the fertility of Vivaldi's invention are the hallmarks of the set even if the ideas are perhaps less striking and memorable than those of his younger days.
Podger's approach here is more introvert and there is a greater sense of playing "together with" the wonderful Holland Baroque Society. Even the glorious sound she makes is reigned in a little - it is still there but is more subtly applied. The results are wonderful! Everything here sparkles gently as if touched by magic. Each concerto - indeed each movement - is a little gem and quite satisfying on it's own. Or, if you like, you can listen to the whole set. The music is delicately "spiced" and can at times sound a little bit folky and at other times a little jazzy - one is at times reminded of the work of Christina Pluhar and L'Arpeggiata - clumsy words to say that the players do everything in their power to project the fun and delight that they find in the music with only good taste as a source of restraint!
The one negative review here - by Judy Spotheim - focuses on the sound. She is not wrong about the "church acoustic" and the reverberation but her judgement is largely, I think, an aesthetic one in that she feels the acoustic is inappropriate for the music. She is an expert and the experience of the music is spoiled for her by the inappropriate sound. For the rest of us I can confirm that the sound is pretty good (clear, attractive, full) and certainly doesn't get in the way of the considerable enjoyment that we can derive from this rather special set.
Rachel Podger's earlier Vivaldi set - the Opus 4 concertos ("La Stravaganza") - was an astonishing and unforgettable. Big Vivaldi played in a an extrovert way and with Podger's ravishing tone to the fore. This present set is rather different. "La Cetra" (Opus 9) is a set of later concertos which are more muted and more varied than the Vivaldi Opuses that we are better acquainted with. Indeed variety and the fertility of Vivaldi's invention are the hallmarks of the set even if the ideas are perhaps less striking and memorable than those of his younger days.
Podger's approach here is more introvert and there is a greater sense of playing "together with" the wonderful Holland Baroque Society. Even the glorious sound she makes is reigned in a little - it is still there but is more subtly applied. The results are wonderful! Everything here sparkles gently as if touched by magic. Each concerto - indeed each movement - is a little gem and quite satisfying on it's own. Or, if you like, you can listen to the whole set. The music is delicately "spiced" and can at times sound a little bit folky and at other times a little jazzy - one is at times reminded of the work of Christina Pluhar and L'Arpeggiata - clumsy words to say that the players do everything in their power to project the fun and delight that they find in the music with only good taste as a source of restraint!
The one negative review here - by Judy Spotheim - focuses on the sound. She is not wrong about the "church acoustic" and the reverberation but her judgement is largely, I think, an aesthetic one in that she feels the acoustic is inappropriate for the music. She is an expert and the experience of the music is spoiled for her by the inappropriate sound. For the rest of us I can confirm that the sound is pretty good (clear, attractive, full) and certainly doesn't get in the way of the considerable enjoyment that we can derive from this rather special set.
12 of 13 people found the following review helpful
By Paul C
Format:Audio CD
Vivaldi's Opus 9 (evocatively entitled "La Cetra") is a very rewarding set of concertos and a new recording is well-deserved.
I have heard two previous period instrument accounts - Kraemer on EMI and Hogwood on L'oiseau-lyre - so I was keen to see how this recording would compare. The answer is very well.
Podger and colleagues play with plenty of fizz. Indeed, one of the many strengths of this version is the lack of predictability and routine. There are numerous little touches that make this feel like a spontaneous performance rather than a recording and the music benefits greatly.
Podger's playing is superb and the orchestra is equally adept. The colourful continuo (organ, harpsichord and two lutes) adds real variety of colour.
The sound quality is excellent too.
I do have a couple of minor criticisms.
The main one is that in a couple of places the plucked continuo instruments strum rather too forcefully. It's particularly disconcerting at one point during the finale to concerto number 4; a movement that is not well-suited to such force.
The other issue I have is the strange opening to the set. Rather than just starting at the first bar of the first concerto, the band plays an improvisation - lasting 20 seconds or so - that leads into the first bar. There is a rather engaging interview video with Podger on YouTube in which she explains the origins of this idea, but it is still a but too wacky for me. It's stylish enough though and maybe I will get used to it.
Such comments aside though, this is a very exciting and entertaining account of La Cetra.
As regards the competition, Hogwood's set is very fine, although the tone of Standage's solo violin is a little sharp and the recorded sound has always seemed a little bright to me. Kraemer's set is excellent, but just a little short on vitality here and there (eg the finale to number 6).
I am tempted to say that Podger and co have the edge over both these sets. It's a close-run race, but I think I shall return to her set more readily from here on.
All in all then, this is a set I can recommend highly.
I have heard two previous period instrument accounts - Kraemer on EMI and Hogwood on L'oiseau-lyre - so I was keen to see how this recording would compare. The answer is very well.
Podger and colleagues play with plenty of fizz. Indeed, one of the many strengths of this version is the lack of predictability and routine. There are numerous little touches that make this feel like a spontaneous performance rather than a recording and the music benefits greatly.
Podger's playing is superb and the orchestra is equally adept. The colourful continuo (organ, harpsichord and two lutes) adds real variety of colour.
The sound quality is excellent too.
I do have a couple of minor criticisms.
The main one is that in a couple of places the plucked continuo instruments strum rather too forcefully. It's particularly disconcerting at one point during the finale to concerto number 4; a movement that is not well-suited to such force.
The other issue I have is the strange opening to the set. Rather than just starting at the first bar of the first concerto, the band plays an improvisation - lasting 20 seconds or so - that leads into the first bar. There is a rather engaging interview video with Podger on YouTube in which she explains the origins of this idea, but it is still a but too wacky for me. It's stylish enough though and maybe I will get used to it.
Such comments aside though, this is a very exciting and entertaining account of La Cetra.
As regards the competition, Hogwood's set is very fine, although the tone of Standage's solo violin is a little sharp and the recorded sound has always seemed a little bright to me. Kraemer's set is excellent, but just a little short on vitality here and there (eg the finale to number 6).
I am tempted to say that Podger and co have the edge over both these sets. It's a close-run race, but I think I shall return to her set more readily from here on.
All in all then, this is a set I can recommend highly.
2 of 2 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
The playing is superb, recording equally so, you can feel the emotions, vigor and sensitivity and I did not realize that I could so enjoy this type of music
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Most Recent Customer Reviews
5.0 out of 5 stars
Vivaldi La Cetra 12 Violin Concertos
It is often said that Vivaldi's works all sound similar but Rachel Podger has achieved an outstanding success in these recordings. Read more
Published 9 months ago by Alan
5.0 out of 5 stars
Stunning Vivaldi from the Princess of Baroque Violin!
Rachel Podger once again proves why she is rated as the finest baroque violinist on the current scene. There is nothing fussy or prim and proper in this performance. Read more
Published 10 months ago by Joe 90
2.0 out of 5 stars
Nice notes but not a great acoustics sound in the round
No doubts that this is a 'curiosa' assemblage of lesser known petite-scale-Vivaldi-concertos with the occasional scattered tiny semi-precious-stones here and there - not even close... Read more
Published 10 months ago by Judy Spotheim
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