Violin Concerto in E, R.271 "L'amoroso"
1.1. Allegro	4:21
2.2. Cantabile	2:23
3.3. Allegro	4:28

Sinfonia for Strings and Continuo in B minor, R.169 - "Al Santo Sepolcro"
4.1. Adagio molto	3:27
5.2. Allegro ma poco	4:31

Violin Concerto in D, R.234 "L'inquietudine"
6.1. Allegro	2:28
7.2. Largo	2:33
8.3. Allegro	2:54

Concerto for Strings and Continuo in G, R.151 Concerto alla Rustica
9.1. Presto	1:10
10.2. Adagio	1:37
11.3. Allegro	2:15

Concerto for Strings and Continuo in D minor, R.129
12.1. Adagio	4:46
13.2. Adagio - 3. (Allegro molto moderato)	2:56

Concerto in A minor for 2 Violins, Strings, and Continuo, R.523
14.1. Allegro molto	5:12
15.2. Largo	3:36
16.3. Allegro	3:51

Concerto In G Minor R439 op.10 No.2 "La Notte"
17.1. Largo - Fantasmi. Presto	3:24
18.2. Largo – Presto	2:15
19.3. Il sonno. Largo – Allegro	3:39

Andreas Blau - Flute
Ottomar Borwitzky - Cello
Thomas Brandis - Violin
Waldemar Döling - Harpsichord
Eberhard Finke 	- Cello
Horst Gobel -Harpsichord
Emil Maas - Violin
Wolfgang Meyer - Harpsichord
Michel Schwalbé – Violin

Berliner Philharmoniker
Herbert von Karajan – Conductor

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1		"All'ombra Di Sospetto"
2		Sonata In Fa Maggiore
3		"Fonti Del pianto"
4		Sonata In Mi Minore
5		"Amor Hai Vinto"
6		Sonata In Do Maggiore

Accademia Claudio Monteverdi Venezia
Hans Ludwig Hirsch - conductor

Der letzte große Name im privaten Komponisten-Förderprogramm des Kardinals Ottoboni hieß Antonio Vivaldi. Die Musik des Venezianers wurde sicher schon in den Jahren von Händels Aufenthalt in Rom gespielt, insbesondere sein Triosonaten-Opus 1, das mit der hoch virtuosen, glanzvollen Follia endet. Anders als Corellis noble Variationen über dieses Thema für Solovioline und Basso continui ist es hier der virtuose Schlagabtausch der beiden Geigen in rauschenden Klangflächen und melancholischen Siciliani, der einen unverwechselbar venezianischen Ton in den Palazzo della Cancelleria brachte. Es muss vielleicht noch erwähnt werden, dass die Ottobonis selbst eine venezianische Familie waren, dass der Kardinal aber von seiner Heimatstadt geächtet wurde, nachdem er sich zum Protektor der französischen Partei in Rom aufgeschwungen hatte. Erst als die Serenissima Reppublica Ottoboni wieder in seine Rechte einsetzte, war auch der Boden für ein Gastspiel Vivaldis in Rom bereitet.

Er kam 1723 bis 1725 für drei Opernspielzeiten, produzierte im Auftrag Ottobonis Werke wie seinen Giustino und faszinierte die Römer durch Neuerungen wie den lombardischen Rhythmus und seine kleinen, schmissigen Opernmelodien. In der Kantate Amor, hai vinto gab sich Vivaldi dagegen betont römisch konservativ. Bevor in der ersten Arie der Sturm der Koloraturen losbricht, verarbeiten Violinen und Singstimme erst einmal ein ehrwürdiges Soggetto von Alessandro Scarlatti im strengen Satz. Erst in der Schlussarie setzt sich dann unwiderstehlicher Vivaldi-Glanz durch. ---Karl Böhmer, kammermusikfuehrer.de

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     CD1 (Atto primo)

1.- Sinfonia (allegro)
2.- Sinfonia (andante)
3.- Sinfonia (presto)
4.- Recitativo "Questo, o popoli" (Cisardo)
5.- Coro "Tutto il regno in lieta gara"
6.- Recitativo "Questa, o fidi, e mia sposa" (Lisea, Nicandro, Mirinda, Cisardo, Coro, Arsilda)
7.- Aria "L´esperto nocchiero" (Cisardo)
8.- Recitativo "Sposa..." (Lisea, Arsilda, Nicandro, Mirinda)
9.- Aria "Io sento in questo seno" (Arsilda)
10.- Recitativo "Sol di Bittina il Prence" (Lisea, Nicandro)
11.- Aria "Col piacer della mia fedele" (Nicandro)
12.- Recitativo "Partano i servi: odi, Mirinda" (Lisea, Mirinda)
13.- Aria "Fingi d´avere un cor " (Lisea)
14.- Recitativo "Dunque, questo ch´amor" (Mirinda)
15.- Aria "Non m´e caro amar penando" (Mirinda)
16.- Recitativo "Dell sotterraneo loco discoperto" (Barzane)
17.- Aria "Sempre piace goder il suo bene" (Barzane)
18.- Recitativo "D´Ama la Regio č questa" (Tamese)
19.- Aria "La tiranna avversa sorte" (Tamese)
20.- Arioso "So ben´io qual pena sia" (Arsilda)
21.- Recitativo e Arioso "Povera in mezzo a l´oro" (Arsilda)
22.- Recitativo "Ecco l´ingrata al fianco" (Barzane, Arsilda, Tamese)
23.- Recitativo "Scoperto il tradimento" (Cisardo, Barzane, Arsilda)
24.- Recitativo "Tutto al tuo braccio io deggio" (Arsilda, Tamese)
25.- Aria "Perche vaggo nel tuo volto" (Arsilda)
26.- Recitativo "Dunque il cultor degli Orti prima" (Lisea, Cisardo)
27.- Coro "Amoretti vezzosetti"
28.- Recitativo "O del´adusta" (Lisea)
29.- Recitativo "Cisardo, or gia che il sacro rito" (Lisea, Cisardo)
30.- Recitativo "Io se tu´l voi" (Nicandro, Lisea)
31.- Recitativo "Tu, Mirinda, quai voti" (Lisea, Mirinda)
32.- Aria "Porta Amore una tal face" (Lisea)
33.- Recitativo "Benche d´amor le stravaganze intesi" (Mirinda)
34.- Finale "Io son quel Gelsomino" (Mirinda)

      CD2 (Atto secondo)

1.- Recitativo "Il pastorel che raffrenň" (Mirinda, Lisea)
2.- Aria "Un certo non so che" (Mirinda)
3.- Recitativo "Ah, traditore" (Lisea, Barzane)
4.- Aria "Ben conosco a poco" (Barzane)
5.- Recitativo "Arsilda ecco ne vien"  (Lisea, Arsilda, Tamese)
6.- Aria "Se un cor soffrir sapra" (Lisea)
7.- Recitativo "Sě che un tiranno sposo del mio" (Arsilda)
8.- Aria "Precipizio č del mio petto" (Arsilda)
9.- Coro "Su a la Caccia si gridi"
10.- Ritornello "D´una cervetta" (Lisea)
11.- Aria "Gia il prato ameno" (Nicandro, Mirinda)
12.- Recitativo "Ma per tua mano" (Lisea, Nicandro)
13.- Aria "Su svegliatevi augelletti" (Arsilda)
14.- Quintetto "Di questo boschi venite" (Cisardo, Mirinda, Tamese, Arsilda, Lisea)
15.- Recitativo "Al geloso amor mio" (Barzane)
16.- Recitativo "Si tenti il mio destin" (Lisea, Barzane)
17.- Aria "Fra cieche tenebre" (Lisea)
18.- Recitativo "Vive Lisea!" (Barzane)
19.- Aria "Quel´usignuolo" (Barzane)
20.- Recitativo "Non ti sia di spiacer Vergine" (Tamese, Mirinda)
21.- Aria "Ancor la tortorella" (Mirinda)
22.- Recitativo "Ma qual sciocca dimor" (Tamese, Arsilda)
23.- Aria "Siano gli astri a me tiranni" (Tamese)
24.- Recitativo "Qual non piu inteso inganno" (Arsilda)
25.- Aria "Son come farfalletta" (Arsilda)
26.- Recitativo "Che intesi mai?" (Cisardo, Nicandro)
27.- Aria "Qual e all´onte" (Cisardo)
28.- Recitativo "Se scoprir la sua pena non vuol" (Nicandro)
29.- Aria "Quando sorge in ciel l´aurora" (Nicandro)

      CD3 (Atto terzo)

1.- Recitativo "Da quel che gia non era" (Lisea)
2.- Recitativo "Eccolo" (Lisea, Barzane)
3.- Aria "Pupille del mio ben" (Barzane)
4.- Recitativo "O del cieco amor mio" (Lisea)
5.- Aria "Di Cariddi li vortici androsi" (Lisea)
6.- Recitativo "Al tuo braccio" (Nicandro, Tamese)
7.- Aria "Ride il fior, canta l´augello" (Nicandro)
8.- Recitativo "Finch´a l´amata"  (Tamese, Mirinda)
9.- Aria "Chi vuol goder d´amore" (Mirinda)
10.- Recitativo "Gia che scoperto" (Tamese, Cisardo)
11.- Aria "La mia gloria ed io mio amore" (Tamese)
12.- Recitativo "Cisardo..." (Lisea, Cisardo)
13.- Aria "Mille frodi e mille inganni" (Cisardo)
14.- Recitativo "Suol talor un gran rischio" (Lisea, Barzane)
15.- Aria "Tornar voglio al primo ardore" (Barzane)
16.- Recitativo "Regina, il bel momento" (Lisea, Arsilda)
17.- Aria "Al nocchiero" (Arsilda)
18.- Recitativo "Popoli, anchor non tutto sapete" (Cisardo)
19.- Recitativo "German, su´l tron ch´e tuo" (tutti)
20.- Finale "D´Imeneo la bella face" (Coro)

Simonetta Cavalli (Arsilda)
Lucia Sciannimanico (Lisea)
Elena Cecchi Fedi (Mirinda)
Nicky Kennedy (Barzane)
Joseph Cornwell (Tamese)
Sergio foresti (Cisardo)
Alessandra Rossi (Nicandro)

Modo Antiquo and the Coro da Camera Italiano
Federico Maria Sardelli (conductor)

Antonio Vivaldi composed Arsilda, Regina di Ponto for the Venetian theater of Sant'Angelo in the fall of 1716. While Vivaldi had, by its debut, been an important member of Venetian musical culture for over a decade as a violinist and composer, he had begun composing only three years earlier. Domenico Lalli, his librettist, who settled in Venice in 1710 after fleeing his native Naples upon being charged with embezzlement, was one of the most important librettists of the first decades of the eighteenth century.

This recording features the Baroque orchestra of Modo Antiquo, an ensemble with particular expertise in the music of Vivaldi and his contemporaries. Founded in 1984 under the direction of Sardelli, the group has made several recordings with Amadeus, cpo and Tactus, including the first complete recording of Vivaldi's cantatas. They have also performed at many European early music festivals, including the Italian festival Opera Barga, for which this production of Arsilda was prepared in 2001. Sardelli is working on a critical edition of Arsilda for Istituto Antonio Vivaldi; in his authored excerpt in the liner notes, he points out his intention to implement both a musical and a musicological approach towards Vivaldi's operas. The music in this recording is based on the autograph of the work and is described as a "reconstruction of the original version" that emphasizes the first arias written rather than the composer's later changes and additions for the 1716 performances.

Arsilda is a typical early eighteenth-century plot in its use of love intrigues, mistaken identities, and musical features such as simile arias. As such, it perfectly encapsulates the contemporary Pier Jacopo Martello's tongue-in-cheek satire of opera of the day, which argued that opera, in order to be entertaining, should avoid following Aristotelian rules of drama and instead feature favored scenic conventions, such as prison and sleep scenes. Arsilda employs several such scenarios, including a hunt that takes place in a verdant forest and a dungeon scene. Moreover, its story hinges on concealed identities. Reliant on a pair of twins for its main intrigue--one male and one female--the story opens with Lisea, disguised as her brother Tamese and posing as King, and Arsilda, engaged to be married to "Tamese." We learn that Tamese has been lost at sea and is presumed dead, and in order to preserve the throne, Lisea has adopted his identity. Arsilda is puzzled and disappointed by "Tamese's" lack of interest, while Lisea/Tamese, for her part, is angry when she learns that her true fiancé, Barzane, has betrayed her and instead pursues Arsilda. The true Tamese, meanwhile, is disguised as the palace gardener, and both Arsilda and Lisea have an unexplained attraction to him.

While Vivaldi's instrumental music has been widely known for some time, only in recent decades have his operas attracted such attention. There is, therefore, a relative dearth of recordings of his operas, and any contribution is appreciated. Modo Antiquo's contibution is a quality recording, done on period instruments with highly competent singers. While at times the sound quality of the recording could be more focused, with low frequencies at times overwhelming the vocal lines and occasionally making comprehension of the text difficult, the recording overall gives wonderful insight into Vivaldi's characterizations and skill at both instrumental and vocal writing. Thanks to the efforts of Sardelli and Modo Antiquo, scholars, Vivaldi fans, and opera lovers in general now have an additional example of Vivaldi's early operatic style.

Many of the arias employ striking instrumentation to help convey the sense of the text. Fipple-flutes are used for pastoral settings, for example, while horns are used for the hunting scenes. Simile arias appear in abundance, such as Arsilda's Act 2, sc. 12 aria "Son come farfalletta" where muted violins and fast arpeggios imitate the fluttering of wings, and Mirinda's "Io son quel Gelsomino" in Act 1, Sc. 15, which imitates the blowing of wind through leafy branches with imitation between voice and strings. All of the singers on this recording convey the individual characterizations with knowledgeable awareness of performance practice and attention to phrasing, dynamics, and ornamentation. Particularly charming are the arias for Mirinda, the naïaut;ve maid, sung by Elena Cecchi Fedi who has a flexible voice perfectly suited to the virtuosic arias often given to this character. Equally pleasing is Lucia Sciannimanico as Lisea and Sergio Foresti as Cisardo. ---Dr. Mary Macklem, University of Central Florida, operatoday.com

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01 - Sinfonia in C major, RV111a - 1. Allegro
02 - Sinfonia in C major, RV111a - 2. Andante
03 - Sinfonia in C major, RV111a - 3. Presto.
04 - Concerto in G minor, RV157 - 1. Allegro
05 - Concerto in G minor, RV157 - 2. Largo
06 - Concerto in G minor, RV157 - 3. Allegro
07 - Concerto in D minor, RV127 - 1. Allegro
08 - Concerto in D minor, RV127 - 2. Largo
09 - Concerto in D minor, RV127 - 3. Allegro
10 - Sinfonia in B minor, RV168 - 1. Allegro
11 - Sinfonia in B minor, RV168 - 2. Andante
12 - Sinfonia in B minor, RV168 - 3. Allegro
13 - Concerto in C major, RV114 - 1. Allegro
14 - Concerto in C major, RV114 - 2. Adagio
15 - Concerto in C major, RV114 - 3. Ciaccona
16 - Concerto in G minor, RV152 - 1. Allegro molto
17 - Concerto in G minor, RV152 - 2. Andante molto
18 - Concerto in G minor, RV152 - 3. Allegro molto
19 - Concerto in D major, RV121 - 1. Allegro molto
20 - Concerto in D major, RV121 - 2. Adagio
21 - Concerto in D major, RV121 - 3. (Allegro)
22 - Concerto in B flat major 'Conca', RV163 - 1. (Allegro) - Allegro molto
23 - Concerto in B flat major 'Conca', RV163 - 2. Andante
24 - Concerto in B flat major 'Conca', RV163 - 3. Allegro
25 - Concerto in C minor, RV119 - 1. Allegro
26 - Concerto in C minor, RV119 - 2. Largo
27 - Concerto in C minor, RV119 - 3. Allegro.
28 - Concerto in G minor, RV156 - 1. Allegro
29 - Concerto in G minor, RV156 - 2. Adagio
30 - Concerto in G minor, RV156 - 3. Allegro
31 - Concerto in B flat major, RV167 - 1. Allegro
32 - Concerto in B flat major, RV167 - 2. Andante
33 - Concerto in B flat major, RV167 - 3. Allegro
34 - Sinfonia in G major, RV146 - 1. Allegro.
35 - Sinfonia in G major, RV146 - 2. Andante
36 - Sinfonia in G major, RV146 - 3. Presto

Venice Baroque Orchestra
Andrea Marcon – conductor

Someone ought to get some t-shirts made that say "Vivaldi rocks!" At least that partly accounts for his popularity in the twenty first century; among the old masters, Antonio Vivaldi's sense of rhythmic dynamics and the gale-like force of many of his string concertos are close enough to the ever-enervating pulse of pop music that he has found an unlikely audience among younger listeners. Andrea Marcon and the Venice Baroque Orchestra's disc Vivaldi: Concerti & Sinfonie per Archi delivers these very kinds of goods, and will prove pleasing to Vivaldi fanciers of the younger set. However, for listeners whose tastes are a bit longer in the tooth, Vivaldi: Concerti & Sinfonie per Archi also provides a very useful tool in distinguishing what is different between Vivaldi works titled by him "Sinfonias" and those designated as "Concerto."

Some older listeners are just waking up to the notion of variety in Vivaldi's music, living for too long under the mistaken apprehension that "Vivaldi wrote the same concerto 600 times." Certain cheaper record companies further complicate matters by issuing Vivaldi's sinfonias as "concertos," and there is a particularly persistent older recording of Vivaldi's Sinfonia in G minor, RV 142, that repeatedly shows up as a concerto, driving some to distraction. To an academic, these distinctions are simply understood; a sinfonia is not a symphony, but an opera overture, and these tend to be shorter and somewhat pithier than Vivaldi's concertos, which also tend to feature solo instrumentalists or groups of them. However, there is an entire rank of some 38 concertos in which no solo instrument is specified, and the whole ensemble is seen as the "soloist"; in these cases, even some experts would be hard pressed to tell the difference between such pieces and Vivaldi's sinfonias.

With Vivaldi: Concerti & Sinfonie per Archi the distinction is clear, and it is one of flavor as much as of form. One can almost hear the curtain rise in the sinfonias, whereas the concerti shows the musicians busily engaged in putting over exceedingly difficult ensemble jams -- it is as if whole band is functioning as a singer in one of Vivaldi's operas. For getting a grip on these issues, Vivaldi: Concerti & Sinfonie per Archi is terrific, and it is a heck of a good performance and recording as well. This one gets an easy "thumbs up." --- Uncle Dave Lewis, Rovi

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01. Largo e spiccato-Allegro non molto    [0:05:20.00]
02. Andante    [0:04:02.00]
03. Allegro    [0:04:35.00]
04. Allegro molto-Andantino    [0:06:12.00]
05. Largo    [0:04:23.00]
06. Allegro    [0:04:18.00]

Giuliano Carmignola - violin
Venice Baroque Orchestra
Andrea Marcon - director

Recent years have brought a steady stream of recordings of Vivaldi concertos beyond the dozen or so famous ones, and it has became clear that his corpus of work remains a land of mostly unexplored riches. Consider the pair of Vivaldi works included on this Concerto veneziano, performed by violinist Giuliano Carmignola and the Venice Baroque Orchestra. Neither work sounds remotely like the Four Seasons and the other Vivaldi concertos most people are familiar with. The first movement of the Violin Concerto in E minor, RV 278, is the sort of piece Vivaldi's successor Tartini had in mind when he complained in reference to the elder master's music that "a throat isn't the neck of a violin"; it is a wordless but highly evocative little operatic scene, complete with mounting grimness and sudden chromatic shocks. The Concerto for Violin and Strings ("in due cori") in B flat major, RV 583, is a grand work with a highly virtuosic (and scordatura) violin part set against two small orchestras; annotator Roger-Claude Travers speculates that it was written for some special occasion. The slow movements of both of these works are of the unbearably beautiful sort that Vivaldi seemed to write with miraculous ease; the B flat concerto's central movement is a chaconne that begins almost minimalistically and expands into a cascade of pure ornament in the violin. ---James Manheim, Rovi

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Violin Concerto in C Major, RV 170
1.   		I. Presto 00:03:10
2.   		II. Largo 00:03:05
3.   		III. Allegro 00:03:18
Violin Concerto in B-Flat Major, RV 383
4.   		I. Allegro 00:02:52
5.   		II. Largo 00:02:46
6.   		III. Allegro 00:02:23
Violin Concerto in G Minor, RV 319
7.   		I. Allegro 00:03:22
8.   		II. Lento 00:02:05
9.   		III. Allegro 00:03:53
Violin Concerto in G Major, RV 314a
10.   		I. Allegro 00:05:08
11.   		II. Adagio 00:03:25
12.   		III. Allegro 00:03:58
Violin Concerto in A Major, RV 341
13.   		I. Allegro 00:05:08
14.   		II. Largo 00:03:04
15.   		III. Allegro 00:03:01
Violin Concerto in B-Flat Major, RV 366
16.   		I. Allegro 00:03:49
17.   		II. Adagio 00:01:49
18.   		III. Allegro 00:04:01

Accademia I Filarmonici (Orchestra)
Alberto Martini (Violin)

Vivaldi composed these concertos specifically for the Dresden Hofkapelle, whose 40-plus players made it one of the largest orchestras at the time (circa 1719). It also was among the finest, and Vivaldi took full advantage of the ensemble’s capabilities in these “concerti con molto Istromenti”. This form differs from the usual concerto grosso in that the many solo instruments are not given equal prominence but rather are positioned in a definite hierarchy–the violin is given the lion’s share of the solo material while pairs of other instruments, primarily woodwinds, get the spotlight for briefer periods.

The most striking example of this is the first movement of the G minor concerto RV 576, where we hear an intricate, brilliantly constructed panoply of wind voices juxtaposed with the solo violin. The sound of duo recorders lends this concerto (as well as the other in G minor–RV 577) a wonderfully archaic quality, while the F major and C major concertos display the usual Vivaldian high spirits and cleverness of invention. However, the real gem in this collection is the Sinfonia RV 192, a work that blurs the lines between sinfonia and concerto and features some strikingly novel (even for Vivaldi) themes and ensemble textures. This is fascinating, stimulating music that Vivaldi fanciers, or even those whose exposure is limited to the Four Seasons, will find richly satisfying. The impressive result is all but guaranteed by the Freiburg Baroque Orchestra’s stylish and virtuosic performances under Gottfried von der Goltz’s cogent and committed leadership. Opus 111’s clear and vibrant recorded sound is the icing on the cake. ---Victor Carr Jr, classicstoday.com

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Antonio Vivaldi: Violin Concerto in G minor, RV 329
I. Allegro
II. Grave
III. Allegro
Antonio Vivaldi: Violin Concerto in B flat major, RV 363, "The Posthorn"
I. Allegro
II. Largo
III. Allegro
Antonio Vivaldi: Violin Concerto in D minor, RV 241
I. Allegro
II. Grave
III. Allegro
Antonio Vivaldi: Violin Concerto in F major, RV 292
I. Allegro. Adagio. Allegro
II. Adagio
III. Allegro
Antonio Vivaldi: Violin Concerto in C major, RV 184
I. Allegro
II. Andante
III. Allegro
Antonio Vivaldi: Violin Concerto in E major, RV 267
I. Allegro. Adagio. Largo. Allegro
II. Largo
III. Allegro

Roberto Baraldi (violin)
Accademia I Filarmonici
Alberto Martini (director)

These are pieces of enormous vitality and marked originality. What these concertos have in common is the Dresden connection, forged by the violin virtuoso Pisendel who visited Venice in 1716, met Vivaldi and became first a pupil then a friend of the composer. Pisendel was leader of the Dresden court orchestra, whose prowess was at least on a par with that of Vivaldi’s much admired orchestra of women at the Ospedale della Pietà. With the exception of one string sinfonia, all these concertos feature a profusion of obbligato instruments in a variety of colourful combinations. The best-known piece in the present handful is that in G minor (RV 577), whose obbligato colloquium consists of a violin, two oboes and two recorders. --- Nicholas Anderson, classical-music.com

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Violin Concerto in D Major, RV 228
1.   		I. Allegro non troppo ma vigoroso 00:02:46
2.   		II. Largo 00:02:23
3.   		III. Allegro 00:02:31
Violin Concerto in B Minor, RV 384
4.   		I. (Allegro) 00:03:41
5.   		II. Largo 00:03:08
6.   		III. (Allegro) 00:02:42
Violin Concerto in E-Flat Major, RV 262
7.   		I. Allegro 00:03:14
8.   		II. Largo 00:03:19
9.   		III. Allegro 00:02:41
Violin Concerto in G Minor, RV 323
10.   		I. Allegro 00:02:28
11.   		II. Largo 00:01:55
12.   		III. Allegro 00:02:25
Violin Concerto in F Major, RV 285
13.   		I. Allegro 00:02:51
14.   		II. Grave. Adagio. Grave 00:03:33
15.   		III. Allegro 00:02:44
Violin Concerto in D Minor, RV 245
16.   		I. Allegro 00:03:07
17.   		II. Largo 00:02:14
18.   		III. (Allegro) 00:02:13

Marco Fornaciari – violin
Accademia I Filarmonici
Alberto Martini – conductor

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Violin Concerto in D Minor, RV 240
1.   		I. Allegro 00:04:19
2.   		II. Largo 00:02:10
3.   		III. Allegro 00:03:54
Violin Concerto in B Minor, RV 388
4.   		I. Allegro 00:03:22
5.   		II. Largo 00:01:58
6.   		III. Allegro 00:02:50
Violin Concerto in E-Flat Major, RV 260
7.   		I. Allegro 00:03:35
8.   		II. Adagio 00:02:38
9.   		III. Allegro 00:03:27
Violin Concerto in A Major, RV 344
10.   		I. Allegro 00:04:13
11.   		II. Largo 00:01:36
12.   		III. Allegro 00:04:23
Violin Concerto in D Major, RV 224
13.   		I. (Allegro) 00:03:58
14.   		II. Largo 00:02:19
15.   		III. Allegro 00:03:21
Violin Concerto in D Major, RV 219
16.   		I. Allegro 00:03:53
17.   		II. Largo 00:02:24
18.   		III. Allegro 00:03:00
Violin Concerto in D Major, RV 213
19.   		I. Allegro 00:02:55
20.   		II. Largo 00:02:21
21.   		III. Allegro 00:04:24

Cristiano Rossi - Violin
Accademia I Filarmonici
Alberto Martini – Conductor

The Dresden link was forged by Vivaldi's friend and one-time pupil Johann Georg Pisendel. Pisendel visited Venice in 1716 when he appears to have struck up a warm friendship with Vivaldi, who dedicated several sonatas and concertos to him. The seven violin concertos on this disc have survived in manuscripts preserved in the Dresden Sächsische Landesbibliothek. Much of this music will be entirely new to most collectors.

By and large these are pieces which do not wear their hearts on their sleeves. There are few extravagant flourishes and perhaps less than we might expect in the way of extrovert gesture. But there's no lack of brilliance in the solo violin writing – Pisendel's reputation as a virtuoso was hardly less than Vivaldi's –and, as ever, the music contains a profusion of effective rhythmic ideas. The solo violin parts are entrusted to Cristiano Rossi, who often, though not always, discovers the fantasy in Vivaldi's solo writing.

The bowing is graceful and relaxed even if intonation is occasionally awry. The A major Concerto, RV344 affords a good instance of soloist and orchestra at their most persuasive. But the lyrically expressive violin melody against a dotted rhythm continuo of the Largo of RV224 is unquestionably the most alluring.

The more you hear this music, the more you're likely to be captivated by it. The recorded sound seems a little boxy and confined, but textures come through clearly all the same. --- prestoclassical.co.uk

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Cd1

01 Concerto For Strings In G Minor, RV 157
02 Concerto For Violoncello And Strings In D Major, RV 403
03 Concerto For Strings In G Minor, RV 152                                play
04 Concerto For Violoncello And Strings In B Minor, RV 424
05 Concerto For Strings In D Minor, RV 127
06 Concerto For 2 Violins, 2Violoncellos And Strings In D Major, RV 564
07 Concerto For 2 Oboes And Strings In D Minor, RV 535
08 Concerto For Violoncello And Strings In A Minor, RV 419
09 Concerto For Violoncello, Basson And Strings In E Minor, RV 409
10 Concerto For 2 Oboes, 2 Violins, Bassoon And Strings In C Major, RV 557
11 Concerto For Strings In G Major, RV 151                               play

Cd2

01 Concerto for violoncello, strings and basso continuo in A minor RV 418 - I. A...
02 Concerto for violoncello, strings and basso continuo in A minor RV 418 - II. ...
03 Concerto for violoncello, strings and basso continuo in A minor RV 418 - III....        play
04 Concerto for strings and basso continuo in C major RV 117 - I. Allegro alla f...
05 Concerto for strings and basso continuo in C major RV 117 - II. Largo
06 Concerto for strings and basso continuo in C major RV 117 - III. Allegro
07 Concerto for strings and basso continuo in F minor RV 143 - I. Allegro
08 Concerto for strings and basso continuo in F minor RV 143 - II. Adagio
09 Concerto for strings and basso continuo in F minor RV 143 - III. Allegro
10 Concerto for violin, violoncello, strings and basso continuo in B-flat major ...
11 Concerto for violin, violoncello, strings and basso continuo in B-flat major ...
12 Concerto for violin, violoncello, strings and basso continuo in B-flat major ...
13 Concerto for 2 violins, 2 violoncelli, strings and basso continuo in D major ...
14 Concerto for 2 violins, 2 violoncelli, strings and basso continuo in D major ...        play
15 Concerto for 2 violins, 2 violoncelli, strings and basso continuo in D major ...
16 Concerto for 4 violins, strings and basso continuo in D major RV 549 - I. All...
17 Concerto for 4 violins, strings and basso continuo in D major RV 549 - II. La...
18 Concerto for 4 violins, strings and basso continuo in D major RV 549 - III. A...
19 Concerto for violoncello, strings and basso continuo in G major RV 413 - I. A...
20 Concerto for violoncello, strings and basso continuo in G major RV 413 - II. ...
21 Concerto for violoncello, strings and basso continuo in G major RV 413 - III....
22 Concerto for strings and basso continuo in E minor RV 134 - I. Allegro moderato
23 Concerto for strings and basso continuo in E minor RV 134 - II. Andante
24 Concerto for strings and basso continuo in E minor RV 134 - III. Allegro
25 Concerto for strings and basso continuo in A major RV 159 - I. Allegro
26 Concerto for strings and basso continuo in A major RV 159 - II. Adagio
27 Concerto for strings and basso continuo in A major RV 159 - III. Allegro

Anner Bylsma, Christina Mahler - cello
Stephen Marvin, David Greenberg - violin
Washington McClain, John Abberger – oboe
Michael McCraw - bassoon

Tafelmusik Baroque Orchestra
Jeanne Lamon – violin and direction

This is better than Bach's Brandenburg's and his Orchestral Suites. Match the pieces on this CD to anything youve ever listened to and you will be smazed. All tracks are filled with so much power and energy you cant help but say this is divine music! Its well worth any price offered here, and it received my full recommendation. –M. Maman

Absolutely amazing! This is by far one of the most explosive, dynamic, and superb symphonies I've ever heard. I'm more of a J.S. Bach fan, but Vivaldi had definetly outdone himself with these compositions. A must buy, if you're a Baroque period lover. –Melissa Frierson

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