Vivaldi - Concerti for cello and orchestra

WISPELWEY, PIETER
FLORILEGIUM

Vivaldi

Awards

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Normal PCM CD (In stock)		$20.41

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ANTONIO VIVALDI celebratedscorned lovedhated An excellent joueur de violon et compositeur mediocre was the description of his fellow-Venetian, the playwright Carlo Goldoni; and one Uffenbach must have been overwhelmed when he heard the maestro himself play a fantasy (i.e. a cadenza) which really terrified me, for such has not been nor can ever be played: he came with his fingers within a mere grass-stalks breadth of the bridge, so that the bow had no roomand this on all four string with imitation and at incredible speed. He was a controversial figure; many found his concerti wild and disorderly; in contrast others found them written on the contrary, in too simple and conventional a style (Johann Joachim Quantz). Whatever the final judgment might be, Vivaldi was rediscovered at the beginning of the 20th century after 100 years of oblivion.
One important reason for this was the discovery that J.S. Bach, who had always remained popular, had copied many of Vivaldis works, primarily in order to study them and later on to make respectful use of their material in transcriptions or arrangements. It must be established here that Vivaldi composed in a manner which, rather than conventional and easy-going, was on the contrary extremely inventive and varied. Even in his apparently simple and conventional works, the listener can enjoy the numerous subtle formal quirks and the constantly unpredictable asymmetries, e.g. in the phrasing of independent parts. One encounters extravagant melodies, often with wide, unconventional leaps of large intervals; in contrast there are also movements where there is no melody at all, but rather an ingenious series of arpeggiated chords which provide a consistently suspenseful sense of progression. It is true that the harmonies can initially appear somewhat superficial and transparent; but a closer examination may well reveal that Vivaldis highly characteristic harmonic rhythmthe length of time that elapses between changes of fundamental harmony, combined with changes in colour which are frequently extremely sharp, such as abrupt alternations of major and minor as well as chords of the seventh, ninth, eleventh, and even thirteenth, can produce a continually changing and imaginatively shaded harmony. The abovementioned superlatives, incidentally, also apply to the purely rhythmic aspects of this music: the ingenious use of hemiola, disguised dance rhythms, lombardic swing, and straightforward dotted rhythms guarantee an ever-present pulse of life. It is not surprising, then, that Antonio Vivaldi had numerous later imitators, regardless of his critics. Vivaldis concerto style, in particular, with its consistent use of the ritornello form and the three-movement construction presaging the later symphony, accounted for much of his popularity. His LEstro Harmonico, op. 3 (Etienne Roger, Amsterdam, 1711), was an extremely popular and influential publication in its time.
The composition, purely for pleasure, of solid, euphonious music, often with programmatic content, with well-thought-out orchestrations (typified, for example by placing the bass line in the soprano register, or a subtle alternation between 8 and 4 foot registrations), with virtuosically detailed articulations, and, above all, with an inexhaustible daring and enthusiasm, stamps Vivaldi as a most unconventional composer. His individuality and expressivity would surely not have been out of place some 100 years later in the midst of the so-called Romantic period, and it is no doubt this timelessness which his contemporaries could not or would not understand. Antonio Vivaldis passion and wit have lost none of their freshness today. The works on this CD are firm and incontrovertible evidence of everything just described. Livelier, more original, more romantic, more varied, more refined, more sentimental, more joyful, more impassioned, more whimsical, sadder, or more sensual music can hardly be imagined. Walter van Hauwe, November 1996

Additional Information

Main artist	WISPELWEY, PIETER FLORILEGIUM
Composer	Vivaldi
Inlay	A. Vivaldi Concerti Pieter Wispelwey, violoncello/piccolo & Florilegium Larghetto in D minor, fr. F major violin conc. RV 295; Conc. in A minor; Largo in F major, fr. violin conc. RV 190; Conc. in F major; Adagio in C major, fr. conc. for strings RV 109;Allegro Vivace in D major, fr. RV 404; Largo in D major, fr. violin conc. RV 226; Conc. in B minor RV 424; Largo in C major, fr. violin conc. RV 383; Conc. in G major RV 413, Largo in G major fr. violin conc. RV 341; Conc. in A minor RV 422, Alla Breve in G major, fr. cello conc. RV 415 (period performance)
Biography	Pieter Wispelwey is one of the first of a generation of generalist specialists, performing equally outstandingly on historical instruments as on modern instruments, based on and inspired by expert stylistical knowledge, highly original and deep musical understanding and superior technique. His repertory ranges from works by J. S. Bach to Elliott Carter, Kagel, Schnittke and young contemporary composers. Pieter Wispelwey was awarded the Elizabeth Everts Prize, an award given biennially to the Netherlands most promising musician in 1985. In 1992 Wispelwey received as first cellist the highly prestigious Netherlands Music Prize. For many years he has given complete, widely acclaimed, performances of the suites for cello solo by J.S. Bach and Britten and the sonatas by Beethoven and Brahms, on period as well as on modern instruments. Pieter Wispelwey is a regularly returning guest in the Concertgebouw in Amsterdam, performing the baroque, classical, romantic and modern repertory. In 1995 he appeared in recital o.a. in Hamburg, Leipzig, Dsseldorf, London, Brussels, Colmar, Saintes, Mulhouse, Sidney, Boston, Washington, Montral and Qubec. In 1996 he is scheduled for concerts in Paris, Nantes, Marseille, Nice, Rome, Florence, Milan, Vienna, Salzburg, Hamburg, Bonn, Bremen, Antwerp, Bruges, Seoul, Hong Kong, Beijing, Shanghai, Jakarta, London, Washington, Chicago, Oubec, Montral a.o. Pieter Wispelwey received his early training from Dicky Boeke and Anner Bijlsma in Amsterdam and continued his studies with Paul Katz (Rochester, USA) and with William Pleeth in England. The vast sonata repertoire for cello and piano he performs with several outstanding (forte)pianists: Robert Levin and Paolo Giacometti.Wispelwey performs regularly as a soloist with orchestra and has recently played concertos by Dvork, Elgar, Tchaikovski, Shostakovitch 1 & 2, Dutilleux, Ibert, Schnittke, Haydn, Beethoven (triple), Brahms (double) performing a.o. in the Concertgebouw in Amsterdam and with the Dutch and German Radio Chamber and Philharmonic Orchestras, the Netherlands Philharmonic Orchestra from Amsterdam, the Philharmonic Ungarica, the Netherlands Wind Ensemble.
Awards	Awards: Telerama award
Quotes	(...) Door te wrijven, borstelen en te boenen laat Pieter Wispelwey Vivaldi's virtuoze noten echt glanzen, hij is op dit gebied echt onnavolgbaar. Iedere stokstreek is een ware belevenis en de resultaten zijn geestverruimend. Barokorkest Florilegium zorgt voor een frisse begeleiding. (...) Telegraaf, March 1997 (...) In de virtuoze celloconcerten is het een feest, waarin het begeleidende Florilegium met veel lan meedoet (...) (...) Pieter Wispelwey speelt met een grote vrijheid en verraadt een enorm plezier te hebben in deze muziek. Een aanstekelijke uitvoering. Noord Hollands Dagblad, March 1997 (...) Wispelwey sleurt je mee met zijn fascinerende en stormachtige spel. Florilegium heeft in de snelle delen weinig moeite om hem te volgen en in de gedragen largo's bewijst het ensemble met schitterende klankkleuren dat het is uitgegroeid tot een topgroep. (...) Belgium Review, March 1997 (...) De fraaie kroon op Channels eerste honderdtal is er dus. (...) Luister, January 1997 (...) Wispelwey kan zo heerlijk in de klank gaan hangen, dat een Largo als dat uit een van de vioolconcerten een sensuele sfeer uitstraalt. (...) (...) hij speelt de Allegro's echt "lekker", met een zucht hier en een snuif daar, in een zelfde animerende geest begeleid en omspeeld door het voortreffelijke Florilegium. Trouw, February 1997 (...) Wispelwey vertelt een verhaal, sleept de luisteraar mee in duikvluchten vol opwinding en sombere schreden van een wanhopig hart (...) Luister, February 1997 (...) the playing is polished and animated (...) CD Review, Februay 1997 (...) It's a long time, since I enjoyed Vivaldi so much. Richard Baker, February 1997 (...) We horen Pieter Wispelwey op deze cd weer geconcentreerd en virtuoos musiceren (...) De Gelderlander, January 1997 (...) De cello van Wispelwey straalt, zingt, lacht en huilt. (...) (...) Wispelwey vertelt een verhaal, sleept de luisteraar mee in duikvluchten vol opwinding en sombere schreden van een wanhopig hart. Als we de cellist op zijn noten mogen geloven, begreep Vivaldi meer van de menselijke natuur dan men ooit dacht. Klassiek, January 1997 (...) Inventief, geraffineerd spel (...) (...) Speelser, gedrevener en grilliger kan eigenlijk niet. (...) Leeuwarder Courant, March 1997 It's not often that a befuddled, over exposed critic is moved to tears, and even less often thrilled to the point of turning academically unnerved by a recording's brilliance. Just about the time one thinks he's heard it all, some revelation like this comes along to transform everything one has been thaught or discovered about a given composer or period. (...) but I've never before encountered a disc which so utterly delighted me, or so thoroughly transformed my vision of the composer's worth. (...) (...) What Pieter Wispelwey does for this disc is refurbish and renovate playing that's almost inhuman in its intelligence as well as craftsmanship. (...) (...) Intonation, articulation and timbre sound magnificent (...) (...) the superb support of Florilegium , the British Baroque Orchestra. How they manage to maintain such ensemble and balance during the breakneck speed of the very quick movements, is anybody's guess. Enchanting!! (...) (...) A special bravo is due the continuo players, who subtly shift around between theorbo, baroque guitar, harpsichord or small organ. And they're recorded as they ought to sound, as a kind of backdrop halo of harmonic support. No small part of that is due to Channel's customized recording equipment and production staff, which produces one of the finest sonic achievements of recent years. This release joins the elite of great recordings, performances that will likely to be enjoyed for as long as music endures. (...) (...) If you think Vivaldi a bore, try this and experience conversion. In Tune Magazine, February 1997 Pieter Wispelwey is a knock-out, he plays with a freedom and intensity that brings these works to life. Birmingham Evening Mail, May 1997 Giudizio tecnica: Ottimo Interpretazione: Ottima (...) allora questa un'occasione da non perdere. CD Classica, June 1997 Klar und transparant Klangbild. (...) Wispelwey und das Ensemble Florilegium musizieren enorm lebendig, farbig und abwech,ungsreich. (...) (...) Selten hat man Cellokonzerte von Vivaldi so vielfltig abschattiert, so kontrastreich und so eloquent gehrt. (...) Fono Forum, June 1997 (...) the playing is imaginative (clearly) and technically brilliant. Definitale a pop item. (...) American Record Guide, October 1997 (...) This is possibly the most persuasive account of Vivaldi's Concerto's i've ever heard, and it's also a highly intelligent use of the CD as a medium. (,..) (...) This is surely a must for any Vivaldi enthusiast. The Strad, September 1997 (...) Cellist Pieter Wispelwey certainly recognizes the poetic muse in Vivaldi's writing, and he is admirably supported throughout by the strings of Florilegium. (...) (...) The performances are invigorating, imaginative and very effectively recorded, allowing the listener to revel in the rich sonorities of Wispelwey's playing. (...) he deserves to be heard if only for the sheer exuberance and technical accomplishment of the playing. Gramophone, August 1997 (...) the supreme ease and artistry shown by the Dutch cellist and his predominantly English colleagues: you will be hard pressed to find better string ensemble (...) Early Music Review, May 1997 Florilegium and Pieter Wispelwey- as skilful and persuasive a team as you could wish for. (...) (...) A splendid CCS release. Record Review, april 1997 (...) Wispelwey's beautiful playing will captivate and astonish. I've never heard no finer Vivaldi performances than these. Classic CD, May 1997 (...) een fraaie, zangerige uitvoering met een warme, koper-glanzende klank (...) NRC, May 1997
Format	Normal PCM CD
Running time	59:26:00
Year of release	1997
Number of cd's	1

Number of cd's:

Year of release:

1997

Running time:

59:26:00

Quotes:

(...) Door te wrijven, borstelen en te boenen laat Pieter Wispelwey Vivaldi's virtuoze noten echt glanzen, hij is op dit gebied echt onnavolgbaar. Iedere stokstreek is een ware belevenis en de resultaten zijn geestverruimend. Barokorkest Florilegium zorgt voor een frisse begeleiding. (...) Telegraaf, March 1997

(...) In de virtuoze celloconcerten is het een feest, waarin het begeleidende Florilegium met veel lan meedoet (...) (...) Pieter Wispelwey speelt met een grote vrijheid en verraadt een enorm plezier te hebben in deze muziek. Een aanstekelijke uitvoering. Noord Hollands Dagblad, March 1997

(...) Wispelwey sleurt je mee met zijn fascinerende en stormachtige spel. Florilegium heeft in de snelle delen weinig moeite om hem te volgen en in de gedragen largo's bewijst het ensemble met schitterende klankkleuren dat het is uitgegroeid tot een topgroep. (...) Belgium Review, March 1997

(...) De fraaie kroon op Channels eerste honderdtal is er dus. (...) Luister, January 1997

(...) Wispelwey kan zo heerlijk in de klank gaan hangen, dat een Largo als dat uit een van de vioolconcerten een sensuele sfeer uitstraalt. (...) (...) hij speelt de Allegro's echt "lekker", met een zucht hier en een snuif daar, in een zelfde animerende geest begeleid en omspeeld door het voortreffelijke Florilegium. Trouw, February 1997 (...) Wispelwey vertelt een verhaal, sleept de luisteraar mee in duikvluchten vol opwinding en sombere schreden van een wanhopig hart (...) Luister, February 1997

(...) the playing is polished and animated (...) CD Review, Februay 1997 (...) It's a long time, since I enjoyed Vivaldi so much. Richard Baker, February 1997 (...) We horen Pieter Wispelwey op deze cd weer geconcentreerd en virtuoos musiceren (...) De Gelderlander, January 1997 (...) De cello van Wispelwey straalt, zingt, lacht en huilt. (...) (...) Wispelwey vertelt een verhaal, sleept de luisteraar mee in duikvluchten vol opwinding en sombere schreden van een wanhopig hart. Als we de cellist op zijn noten mogen geloven, begreep Vivaldi meer van de menselijke natuur dan men ooit dacht. Klassiek, January 1997

(...) Inventief, geraffineerd spel (...) (...) Speelser, gedrevener en grilliger kan eigenlijk niet. (...) Leeuwarder Courant, March 1997

It's not often that a befuddled, over exposed critic is moved to tears, and even less often thrilled to the point of turning academically unnerved by a recording's brilliance. Just about the time one thinks he's heard it all, some revelation like this comes along to transform everything one has been thaught or discovered about a given composer or period. (...) but I've never before encountered a disc which so utterly delighted me, or so thoroughly transformed my vision of the composer's worth. (...) (...) What Pieter Wispelwey does for this disc is refurbish and renovate playing that's almost inhuman in its intelligence as well as craftsmanship. (...) (...) Intonation, articulation and timbre sound magnificent (...) (...) the superb support of Florilegium , the British Baroque Orchestra. How they manage to maintain such ensemble and balance during the breakneck speed of the very quick movements, is anybody's guess. Enchanting!! (...) (...) A special bravo is due the continuo players, who subtly shift around between theorbo, baroque guitar, harpsichord or small organ. And they're recorded as they ought to sound, as a kind of backdrop halo of harmonic support. No small part of that is due to Channel's customized recording equipment and production staff, which produces one of the finest sonic achievements of recent years. This release joins the elite of great recordings, performances that will likely to be enjoyed for as long as music endures. (...) (...) If you think Vivaldi a bore, try this and experience conversion. In Tune Magazine, February 1997

Pieter Wispelwey is a knock-out, he plays with a freedom and intensity that brings these works to life. Birmingham Evening Mail, May 1997

Giudizio tecnica: Ottimo Interpretazione: Ottima (...) allora questa un'occasione da non perdere. CD Classica, June 1997

Klar und transparant Klangbild. (...) Wispelwey und das Ensemble Florilegium musizieren enorm lebendig, farbig und abwech,ungsreich. (...) (...) Selten hat man Cellokonzerte von Vivaldi so vielfltig abschattiert, so kontrastreich und so eloquent gehrt. (...) Fono Forum, June 1997

(...) the playing is imaginative (clearly) and technically brilliant. Definitale a pop item. (...) American Record Guide, October 1997 (...) This is possibly the most persuasive account of Vivaldi's Concerto's i've ever heard, and it's also a highly intelligent use of the CD as a medium. (,..) (...) This is surely a must for any Vivaldi enthusiast. The Strad, September 1997

(...) Cellist Pieter Wispelwey certainly recognizes the poetic muse in Vivaldi's writing, and he is admirably supported throughout by the strings of Florilegium. (...) (...) The performances are invigorating, imaginative and very effectively recorded, allowing the listener to revel in the rich sonorities of Wispelwey's playing. (...) he deserves to be heard if only for the sheer exuberance and technical accomplishment of the playing. Gramophone, August 1997

(...) the supreme ease and artistry shown by the Dutch cellist and his predominantly English colleagues: you will be hard pressed to find better string ensemble (...) Early Music Review, May 1997 Florilegium and Pieter Wispelwey- as skilful and persuasive a team as you could wish for. (...) (...) A splendid CCS release. Record Review, april 1997 (...) Wispelwey's beautiful playing will captivate and astonish. I've never heard no finer Vivaldi performances than these. Classic CD, May 1997

(...) een fraaie, zangerige uitvoering met een warme, koper-glanzende klank (...) NRC, May 1997