Torrent details for "Vivaldi - Concerti per il flauto traversier - Arte dei Suonatori, Alexis Kossenko" Log in to bookmark
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359.17 MB
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31-12-2023 10:50
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Track List:
Concerto in G Major, RV 435
01. I. Allegro
02. II. Largo
03. III. Allegro
Concerto in A Minor, RV 440
04. I. Allegro non molto
05. II. Larghetto
06. III. Allegro
Concerto in G Major, RV 436
07. I. Allegro
08. II. Largo
09. III. Allegro
Concerto in E Minor, RV 430
10. I. Allegro
11. II. Largo
12. III. Poco allegro
13. Concerto in E Minor, RV 432: Allegro
Concerto in G Major, RV 438
14. I. Allegro
15. II. Andante
16. III. Allegro
17. Concerto in D Major, RV 428 "Il Gardellino": Andante
Concerto in D Major, RV 429
18. I. Allegro
19. II. Andante
20. III. Allegro
Concerto in F Major, RV 434
21. I. Allegro non molto
22. II. Largo e cantabile
23. III. Allegro
Concerto in D Major, RV 427
24. I. Allegro
25. II. Largo
26. III. Allegro
Performer:
Alexis Kossenko, flute & conductor
Arte dei Suonatori
In Holland in the 1720s the transverse flute enjoyed considerable popularity among amateur musicians. Aware of that keen interest, the publisher Michel Le Cene decided in 1729 to present his customers with the very first collection of concertos for flute and orchestra. Vivaldi responded to his request by refurbishing several older works. Only one of them was already in the modern concerto form: the Concerto in F major for recorder and strings. Another four pieces were hybrid in form and still close to chamber works. The predominant role of the recorder or flute in those four concertos made them ideal for adaptation. The odd man out of the collection is the short Concerto in G major RV 435. No earlier version is known and its style, more modern than its five companions in the set, leads us to suppose that Vivaldi wrote it specifically for Le Cenes publication. The decade following the publication of op. 10 saw the appearance of a fair number of new flute concertos. Among them, the Concerto in A minor RV 440 is a splendid example of Vivaldis maturity. Studying the manuscript of this concerto reveals different stages in its composition, as well as shedding light on its destination. In the case of RV 438 and RV 400, Vivaldi simplified many passages, probably making such sacrifices for a flautist of very limited virtuosity. Since these revisions had no musical justification, we chose to restore the original text.