94629 vivaldi l'estro armonico bl2 v3 brilliant by Klassiek.nl

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Antonio Vivaldi 1678–1741 11 12 13 14

L’Estro Armonico 12 Concertos Op.3 Concerti Consacrati All’Altezza Reale di Ferdinando III Gran Principe di Toscana World premiere recording authorized and based on the Critical Edition by Michael Talbot, Istituto Italiano Antonio Vivaldi, Fondazione Giorgio Cini, Venice Compact Disc 1

1 2 3 4

Concerto No.10 in B minor RV580 for 4 violins, cello, strings and continuo I. Allegro II. Largo III. Larghetto – Adagio – Largo IV. Allegro

46’57

3’17 0’51 1’14 3’09

Concerto No.7 in F RV567 for 4 violins, cello, strings and continuo I. Andante II. Adagio III. Allegro IV. Adagio – Allegro

Concerto No.8 in A minor RV522 for 2 violins, strings and continuo 15 I. Allegro 16 II. Larghetto e spiritoso 17 III. Allegro

3’15 3’15 2’59

Concerto No.4 in E minor RV550 for 4 violins, strings and continuo 18 I. Andante 19 II. Allegro assai 20 III. Adagio – Allegro

1’56 2’04 2’37

Compact Disc 2

Concerto No.1 in D RV549 for 4 violins, strings and continuo 5 I. Allegro 6 II. Largo e spiccato 7 III. Allegro

2’58 2’04 2’23

Concerto No.5 in A RV519 for 2 violins, strings and continuo 8 I. Allegro 9 II. Largo 10 III. Allegro

2’43 1’36 2’26

2’26 0’53 2’21 2’15

Concerto No.9 in D RV230 for violin, strings and continuo 1 I. Allegro 2 II. Larghetto 3 III. Allegro

4 5 6 7

Concerto No.2 in G minor RV578 for 2 violins, cello, strings and continuo I. Adagio e spiccato II. Allegro III. Larghetto IV. Allegro

47’15

2’05 3’33 1’58

1’23 2’15 2’13 2’32

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Concerto No.12 in E RV265 for violin, strings and continuo 8 I. Allegro 9 II. Largo 10 III. Allegro

3’18 3’19 2’42

Concerto No.6 in A minor RV356 for violin, strings and continuo 11 I. Allegro 12 II. Largo 13 III. Presto

2’40 1’55 2’23

14 15 16 17

Concerto No.11 in D minor RV565 for 2 violins, cello, strings and continuo I. Allegro II. Adagio e spiccato – Allegro – Adagio III. Largo e spiccato IV. Allegro

Concerto No.3 in G RV310 for violin, strings and continuo 18 I. Allegro 19 II. Largo 20 III. Allegro

Federico Guglielmo solo violin & concert master (I: Nos. 1–12)

0’39 3’14 2’22 2’22

2’01 2’07 2’00

L’Arte dell’Arco Elisa Citterio violin (CD1 – solo II: Nos. 5, 8 & 10; solo III: Nos. 1 & 4; solo IV: No.7) Rossella Croce violin (CD1 – solo II: Nos. 1 & 4; solo III: No.7; solo IV: No.10; CD2 – solo II: No.11) Esther Crazzolara violin (CD1 – solo II: No.7; solo III: No.10; solo IV: Nos. 1 & 4; CD2 – solo II: No.2) Isabella Bison violin (CD2) Enrico Balboni, Davide Zaltron violas Francesco Galligioni cello (CD1 – solo: Nos. 7 & 10; CD2 – solo: Nos. 2 & 11) Paolo Zuccheri violone/double bass Roberto Loreggian harpsichord/chamber organ Michele Pasotti theorbo/baroque guitar

Performing edition: Universal Music Publishing Ricordi, Milan Recordings: 28–30 November 2013, Villa San Fermo, Lonigo (CD1); 1–3 February 2014, Sala della Carità, Padua (CD2) Producer, recording engineer & editor: Fabio Framba & 2014 Brilliant Classics Recorded in collaboration with

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Vivaldi: L’Estro Armonico Along with the famous collection Il cimento dell’armonia e dell’inventione (Op.8), L’Estro Armonico (Op.3) is arguably the most important printed edition of Vivaldi’s concertos. Published in 1711 in Amsterdam by the printer Estienne Roger, the 12 concertos immediately met with great acclaim. Over the following 32 years there were over 20 reprints that greatly contributed to the spread of Vivaldi’s fame in Holland, England and France. In the wake of this success, the composer’s earlier Op.1 and Op.2, respectively printed in 1705 and in 1709 by the somewhat dated Venetian printers Bortoli and Sala, were republished in Amsterdam, London and Paris in more elegant, practical editions. In those years, as an up-and-coming violinist and composer, Vivaldi was free of ties with the Ospedale della Pietà, and would have been keen to devote himself with increased intensity to the solo concerto, a genre of composition that was much in demand, and not only in Venice. As Michael Talbot has pointed out, a great many pieces written in the first decade of the century that have only survived in manuscript form reveal how Op.3 represents, at least in part, the fruit of many years of work. For the first time Vivaldi appeared before European audiences as Violin Master at La Pietà. The frontispiece of the collection reads: L’Estro Armonico / Concerti / Consacrati / All’Altezza Reale / Di / Ferdinando III / Gran Principe di Toscana / da D.Antonio Vivaldi / Musico di Violino e Maestro de’ Concerti / del Pio Ospidale della Pietà di Venezia / Opera Terza / Libro Primo / Libro Secondo / A Amsterdam / Aux dèpens d’Estienne Roger Marchand Libraire / n°50–51. The dedication to Prince Ferdinando de’ Medici, son and heir of Cosimo III, Grand Duke of Tuscany, reveals the composer’s desire to work in some way with the Florentine court, but does not explain exactly what his relationship was with the heir to the Grand Duchy, for all that he was an excellent amateur musician. The fact that the Estro Armonico was the first collection of concertos to be published with a title proves that Vivaldi himself was well aware of the exceptional nature of the event. It was also the first collection of concertos to appear in two separate volumes. Translation: Kate Singleton

L’Estro Armonico (op.3) insieme alla celebrata raccolta Il cimento dell’armonia e dell’inventione (op.8) è probabilmente il più importante ciclo di concerti dati alle stampe da Vivaldi. I dodici concerti furono pubblicati nel 1711 ad Amsterdam dallo stampatore Estienne Roger e conobbero da subito una fortuna incredibile; negli anni successivi e fino al 1743 oltre 20 ristampe aiutarono la divulgazione delle opere vivaldiane in Olanda, Inghilterra e Francia. A testimonianza di questo successo editoriale anche le precedenti op.1 (1705) e op.2 (1709), pubblicate nel recente passato dagli ormai recessivi editori veneziani Bortoli e Sala, furono ristampante ad Amsterdam, Londra e Parigi con le più eleganti e pratiche nuove vesti tipografiche ed editoriali. Tra le priorità dell’emergente violinista e compositore – in quegli anni pure libero da ogni rapporto di lavoro con l’Ospedale della Pietà – vi era sicuramente proprio il dedicarsi con maggiore intensità al concerto solistico, un genere compositivo già molto in voga ed assai richiesto anche fuori Venezia. Come è stato ben argomentato da Michael Talbot “una considerevole quantità di brani risalenti alla prima decade del secolo e sopravvissuti solamente in forma manoscritta evidenziano come l’Op.3 rappresenti, almeno in parte, l’esito di svariati anni di lavoro”. Per la prima volta Vivaldi si presenta al pubblico europeo con la sua qualifica di maestro di violino della Pietà. Il frontespizio della raccolta più precisamente reca: L’Estro Armonico / Concerti / Consacrati / All’Altezza Reale / Di / Ferdinando III / Gran Principe di Toscana / da D.Antonio Vivaldi / Musico di Violino e Maestro de’ Concerti / del Pio Ospidale della Pietà di Venezia / Opera Terza / Libro Primo / Libro Secondo / A Amsterdam / Aux dèpens d’Estienne Roger Marchand Libraire / n°50–51. La dedica, rivolta al figlio del Granduca di Toscana Cosimo III, il principe ereditario Ferdinando de’ Medici, auspica una collaborazione nel rapporti con la corte di Firenze ma non chiarisce quali fosse i rapporti di esistenti tra Vivaldi e l’erede al trono che pure era un ottimo dilettante di musica. L’Estro Armonico è la prima raccolta di concerti a stampa pubblicata con un titolo; questo ci conferma il carattere di eccezionalità e inconvenzionalità che lo stesso autore doveva avere ben compreso. Al tempo stesso è anche la prima raccolta di concerti pubblicati in due volumi distinti.

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Federico Guglielmo The Paduan violinist Federico Guglielmo is acclaimed by international critics for his ‘extraordinary versatility’ and ‘mature interpretive confidence’, views which are further confirmed by the appreciation garnered for his live performances and the prizes he has won for his numerous recordings. Winner of the Antonio Vivaldi International Recording Prize, he was hailed as ‘the new star of the ancient music landscape’ by the Boston Globe, while the French music magazine Diapason, which awarded him the Diapason d’Or for his recording of Vivaldi concertos, praised his ‘sparkling virtuosity which provides a cross section of everything of which the violin is capable’. His ‘brilliant and entertaining’ interpretation of Haydn’s Violin Concertos led the American critic Robert Maxham to write in Fanfare that ‘between Isaac Stern’s energetic approach to these works, those of celebrated Mozart interpreters like Szymon Goldberg and Arthur Grumiaux, and the insightful explorations of Christian Tetzlaff seem like halfway houses on the journey to Guglielmo’s more full-blown re-creations. Those who admire Haydn’s concertos should be among the first to rush to acquire these performances, but everyone should join that rush sooner or later.’ Guglielmo’s international career began at just 22 when he won first prize in the Vittorio Gui Chamber Music competition in Florence; the same year, having won the national competition for teaching posts, he became the youngest professor of strings at an Italian conservatory, a post he still holds at the Luigi Cherubini Conservatory in Florence. As both a Baroque/Classical violin soloist and as a conductor he is regularly invited to perform by major ensembles worldwide. He led the renowned Academy of Ancient Music on tour in England, and was subsequently invited by groups such as The Handel & Haydn Society of Boston and the Tokyo Chamber Orchestra; his debut in Sydney with the Australian Brandenburg Orchestra was a sensational success, with his performances watched by over 10,000 spectators and recorded by ABC. The Daily Telegraph reported that ‘his ability to move from playing to conducting reminded us of the virtuosic players of the Baroque such as Vivaldi’, while the Sydney Morning Herald described his ‘superb technical ability demonstrated in the stratospheric passages at the very top of the fingerboard’. In 1995, together with his father, he formed the period instrument ensemble L’Arte dell’Arco, with whom he has performed in major European festivals and recorded more than 75 CDs for

Deutsche Harmonia Mundi, Sony/BMG Classical, Chandos, CPO, Stradivarius, Asv Gaudeamus and Rai Trade. 2011 saw the publication of the final volume of the complete 30 CD set of Tartini’s 125 violin concertos for Dynamic, and the first volume of the new Vivaldi project (19 CDs of all his published works) for Brilliant Classics. Federico Guglielmo collaborates with musicians such as Bob van Asperen, Emma Kirkby, Monica Huggett and Dan Laurin. He has performed Bach’s violin concertos with conductor Gustav Leonhardt, Beethoven’s Violin Concerto with the Gran Canaria Philharmonic, conducted by Christopher Hogwood, and Franz Clements’s Violin Concerto with Reinhard Goebel (first European performance in modern times). He has taught Baroque violin in Italy, Brazil, and Japan and for the New South Wales Conservatory in Australia. In addition to his solo work, Federico Guglielmo also has a great passion for chamber music. He is a member of the Stradivari Trio, which he founded in 1992, and he has played with musicians such as Pieter Wispelwey, Mario Brunello, Kathleen Battle, Hansjörg Schellenberger, Wolfram Christ and Michala Petri. Chamber music recordings include Brahms Piano Trios (Dynamic), Mozart Piano Trios (CPO), named as CD of the month by the German magazine Fono Forum, and Grieg Violin Sonatas (Decca). Federico Guglielmo was born in Padua in 1968. He obtained his diploma from the B. Marcello Conservatory in Venice and then attended violin masterclasses with Salvatore Accardo, Vladimir Spivakov and Isaac Stern, chamber music masterclasses with the Beaux Arts Trio, the Trieste Trio,

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the Amadeus Quartet, the Quartetto Italiano and the LaSalle Quartet, and an orchestral conducting masterclass with Gianluigi Gelmetti. While still very young he was concert master for the principal Italian symphonic orchestras for ten years – a role he is still happy to perform occasionally today with the Orchestra di Padova e del Veneto. He has also won several prizes in national (Vittorio Veneto) and international (Paris, London, Canada) competitions; since then he has regularly performed at the main concert halls such as Große Musikverein in Vienna, Wigmore Hall in London, Società del Quartetto in Milan, Accademia Santa Cecilia in Rome, Auditorio Nacional in Madrid, Herkuleesaal in Munich, Isaac Stern Auditorium at Carnegie Hall in New York, Suntory, Hall, Opera City and Bunka Kaikan in Tokyo, Izumi and Symphony Hall in Osaka, Teatro Colon in Buenos Aires and the City Recital Hall in Sydney. In his role as principal violin and leader of the string ensemble I Solisti Filarmonici Italiani, he has led concert tours every two years since 1990, in Japan and the US, and has made more than 35 recordings for Denon Nippon Columbia. In the last few years he has concentrated more on conducting, including opera. He conducted the world premiere of Piccini’s Il finto Turco by at the Teatro Olimpico in Vicenza (live broadcast by Rai Radio3) and the first performance in modern times of Vivaldi’s Ottone in Villa by (recorded by Brilliant Classics); he was also responsible for the reworking of Domenico Scarlatti’s La Dirindina for MiTo/Settembre Musica. The CD of Handel’s Water Music (CPO) which he conducted was awarded ‘First Choice’ (BBC Radio 3/Building a Library) and was chosen as one of Gramophone’s ‘Recommended Recordings’ for its ‘splendid playing, involving and vibrant’. Federico Guglielmo plays on a ‘modern’ violin by Giovanni Battista Grancino (Milan, 1690), and a ‘Baroque’ violin by Claude Lebet (La Chaux de fonds, 1995), a copy of the ‘Davidoff’ Guadagnini.

L’Arte dell’Arco Established in 1994, L’Arte dell’Arco has achieved international recognition for its concerts and recordings. The ensemble, based in Padua, consists of some of the best Italian musicians, all of whom have specialised in period-instrument performance playing with the most important European Baroque orchestras. The composition of the group varies from a small string ensemble to a full orchestra. Depending on the demands of each programme, L’Arte dell’Arco can consist of anything from 3 to 30 musicians so that it can devote itself to a wide repertoire and continue to

search for and re-evaluate forgotten works. L’Arte dell’Arco is regularly invited to many important early music festivals and historic cultural venues. Its musicians perform today in all the famous European concert halls as well as in North and South America, Japan and the Far East. The group has performed with acclaimed artists such as Christopher Hogwood (guest conductor since 1997), Gustav Leonhardt, and Pieter Wispelwey. Although the orchestra still invites guest conductors and soloists for some performances each year, its artistic director/concert master, Federico Guglielmo, has given it a very definite image. L’Arte dell’Arco has been particularly prolific in the recording studios, releasing CDs on the labels Deutsche Harmonia Mundi, Sony/BMG Classics, Chandos, Brilliant Classics, ASV, CPO, Stradivarius, Dynamic, RAI Trade and Musicaimmagine, all featuring works from the Italian Baroque repertoire. Since the release of its first recording, L’Arte dell’Arco has received prizes such as at the Premio Internazionale del Disco Antonio Vivaldi in Venice (1995, 1996), and critical acclaim from specialist classical music magazines (Diapason, Le Monde de la Musique, Repertoire, Gramophone, Classic CD, BBC Music Magazine, International Record Review, The Strad, Fanfare, American Record Guide, Fono Forum, Klassik Heute, Alte Musik Aktuell, Luister, Scherzo, Ritmo, The Record Gejiutsu, etc.) and the international press (The Times, the Daily Telegraph, the Irish Times, etc.). The Italian music magazines Amadeus, CD Classics, Orfeo and Classic Voice have featured L’Arte dell’Arco on their covers, with articles about unpublished recordings and interviews with Federico Guglielmo. In 1996 L’Arte dell’Arco embarked upon one of the most ambitious recording projects of the last decades: the complete recording of all Tartini’s concertos. The volumes were released on Dynamic to overwhelming international acclaim.