Harmonia Mundi have
now released this their second volume
of Vivaldi cello concertos. There are
seven concertos here, five for single
cello, one for violin and cello and
another for violin and two cellos. In
my collection I have the preceding volume
of cello concertos, however the first
set just isn’t in the same league as
this second volume; the accounts just
do not have the same enthusiasm, immediacy
and bite. Incidentally, by my last estimate,
Vivaldi wrote twenty-six cello concertos
plus seventeen other concertos that
include the cello as a joint solo instrument.
Certainly there is room for several
more volumes from Harmonia Mundi.
These concertos are
accomplished examples of the genre and
to a large extent chart Vivaldi’s development
as a composer. The Concerto in A minor
RV420 circa 1705 is an early piece,
bearing the hallmarks of a Baroque sonata
and makes sparing use of the orchestra.
The more advanced style of the Concerto
in D minor RV407, composed a few years
later, shows how Vivaldi gives more
independent treatment to the orchestra.
The remaining five works most likely
date from around 1718. This was really
the start of an extended period of Vivaldi’s
supreme creative maturity and it was
seven more years before he published
his masterwork: the set which included
the famous ‘Four Seasons‘ known as,
Il Cimento dell' Armonia e dell'Inventione,
Opus 8. These remaining five concertos
are characterised by a balanced alternation
between colourful and individually structured
ritornellos and virtuoso solos
in the quicker movements. They are effectively
contrasted with expansive slow central
movements that feature expressive cantilenas
on the solo instruments. The Concerto
for violin and cello in F major ‘Il
Proteo o sia Il mondo al rovescio’,
RV544 and the Concerto for violin and
two cellos in C major RV561 are rare
for their unusual instrumentation, richness
of melody and invention. They are really
worth exploring.
Countless earlier pioneering
interpretations of Vivaldi’s music on
period instruments came across as technically
mechanical, rather lacklustre, frequently
insipid even sterile. In the last few
years the standard of period instrument
performance of Vivaldi has certainly
improved by leaps and bounds. This is
thanks largely to a growing number of
specialist chamber ensembles such as:
Concerto Italiano; Venice Baroque Orchestra;
Europa Galante; Arte Dei Suonatori;
Il Giardino Armonico; Academia Montis
Regalis; Florilegium; L’Astrée;
the Freiburger Barockorchester et
al. On the strength of superb recent
performances I would certainly include
The English Concert in this influential
company now that Andrew Manze has become
their director.
On the evidence of
these accounts the Ensemble Explorations
under direction of Belgium born cellist
Roel Dieltiens are worthy of inclusion
in the esteemed company of the very
best period instrument groups. Like
the finest contemporary period instrument
consorts the players of Ensemble Explorations
expertly explore and exploit the technical
and expressive strengths of their period
instruments rather than being restricted
by the weaknesses.
Ensemble Explorations,
on this recording, comprise only eight
players but the magnitude and sheer
quality of sound they produce is nothing
short of astonishing. I particularly
liked the subtle phasing which has a
real sense of forward momentum often
with a dancing quality. Memorable playing
with admirable virtuosity and style
in the allegros and in the slow
movements the expressivity is profoundly
felt. Baroque cellist Roel Dieltiens
with extraordinary precision, produces
a fine tone; exciting yet refined playing.
These intriguing and
most revealing interpretations of splendid
Vivaldi cello concertos enabled me to
see them in a different light. This
is one of my top five favourite Vivaldi
recordings. Truly outstanding!
Michael Cookson
Ensemble Explorations/Roel Dieltiens 