Antonio Vivaldi (1678 1741) composed around 550 concertos. Most of these were written for the Ospedale della Piet, a kind of orphanage which was home for the female offspring of noblemen and their mistresses. Even after leaving Venice he supplied concertos and directed performances for this Institute, where the musical standards were the highest in Venice. After listening to many of these works we soon realized that the guitar concertos, originally written for mandolin and lute, are amongst Vivaldis best. Besides the double concerto for two mandolins we decided to arrange two solo concertos, originally written for lute and mandolin. In these arrangements the second guitar takes the role of the continuo, which would usually be played on the harpsichord. When listening to the mandolin and guitar versions, we found that the same piece played on the mandolin sounds a lot clearer. This is not only due to the fact that the register of the mandolin lays an octave higher than the guitars. Arpeggio-like formations sound harp-like on the guitar but not on the mandolin. Traditionally guitarists play these figurations by holding all the notes of the chord with the left hand, producing this harp like sound. These formations played on the mandolin, violin or on wind instruments would sound a lot more like melodies, where notes do not overlap and you can hear the jump between the notes. It is possible to achieve the same on the guitar by lifting the fingers of the left hand just like other instrumentalist would do. Once we listened to this clearer sound we nearly always preferred this technique. We also tried to play as much as possible with rest stroke, (a guitarist technique of the right hand) as it sounds louder and fuller, which is useful specially when playing with or against other instruments......
Composer
Antonio Vivaldi, Leopold Weiss
Producer
Jared Sacks
Recording Engineer / Mastering
Jared Sacks
Technical Specifications
Microphones: Bruel & Kjaer 4006, Schoeps
Digital Converters: DSD Super Audio/Meitner Design AD/DA
Speakers: Audiolab, Holland
Software: Pyramix Editing, Merging Technologies
Mixing Board: Rens Heijnis, custom design
Mastering Room: B+W 803d series speakers, Classe 5200 Amplifier
Cables: Van den Hul
Inlay
Antonio Vivaldi: (1678-1741) Double Concerto, for 2 guitars, strings & continuo in G major, RV 532
Trio Sonata in C major, RV 82 Concerto for guitar, strings and continuo in D major, RV 93
Trio Sonata in B minor, RV 85 (orig. in G minor)
Concerto for guitar, strings and continuo in C major, RV 425
Sylvius Leopold Weiss: (second part reconstructed by Karl-Ernst Schrder) (1686-1750) Sonata in A major
all arrangements by the Katona Twins
Quotes
Leve de beroemde Hongaarse Katona Twins, Peter en Zoltan Katona spelen met het Carduci String Quartet concerten van Vivaldi voor mandoline en luit die zijn bewerkt voor gitaar en voegden er zelf nog wat bewerkingen aan toe. Het is vaak glimlachen en soms zelfs schateren om hun bijwijlen aanstekelijke swingende spel. Samen met Vivaldi vormen ze een drieling!! NRC
"There is clarity of all the instrumental lines in these chamber-like versions with just string quartet... it didn't take long to be swayed by the brilliant performances". John Sunier
Running time
62:31
Number of cd's
1
:
1
:
2007
:
Deventer Holland
:
Jared Sacks
:
Jared Sacks
:
62:31
:
Microphones: Bruel & Kjaer 4006, Schoeps Digital Converters: DSD Super Audio/Meitner Design AD/DA Speakers: Audiolab, Holland Software: Pyramix Editing, Merging Technologies Mixing Board: Rens Heijnis, custom design Mastering Room: B+W 803d series speakers, Classe 5200 Amplifier Cables: Van den Hul
Katona Twins Critically acclaimed by the Daily Telegraph as “ the classical world’s best known guitar duo”, Peter and Zoltán Katona have given recitals in the major concert venues throughout the world.
:
Katonas Twins
Carducci String Quartet
:
Antonio Vivaldi (1678 1741) composed around 550 concertos. Most of these were written for the Ospedale della Piet, a kind of orphanage which was home for the female offspring of noblemen and their mistresses. Even after leaving Venice he supplied concertos and directed performances for this Institute, where the musical standards were the highest in Venice. After listening to many of these works we soon realized that the guitar concertos, originally written for mandolin and lute, are amongst Vivaldis best. Besides the double concerto for two mandolins we decided to arrange two solo concertos, originally written for lute and mandolin. In these arrangements the second guitar takes the role of the continuo, which would usually be played on the harpsichord. When listening to the mandolin and guitar versions, we found that the same piece played on the mandolin sounds a lot clearer. This is not only due to the fact that the register of the mandolin lays an octave higher than the guitars. Arpeggio-like formations sound harp-like on the guitar but not on the mandolin. Traditionally guitarists play these figurations by holding all the notes of the chord with the left hand, producing this harp like sound. These formations played on the mandolin, violin or on wind instruments would sound a lot more like melodies, where notes do not overlap and you can hear the jump between the notes. It is possible to achieve the same on the guitar by lifting the fingers of the left hand just like other instrumentalist would do. Once we listened to this clearer sound we nearly always preferred this technique. We also tried to play as much as possible with rest stroke, (a guitarist technique of the right hand) as it sounds louder and fuller, which is useful specially when playing with or against other instruments......
:
Leve de beroemde Hongaarse Katona Twins, Peter en Zoltan Katona spelen met het Carduci String Quartet concerten van Vivaldi voor mandoline en luit die zijn bewerkt voor gitaar en voegden er zelf nog wat bewerkingen aan toe. Het is vaak glimlachen en soms zelfs schateren om hun bijwijlen aanstekelijke swingende spel. Samen met Vivaldi vormen ze een drieling!! NRC
"There is clarity of all the instrumental lines in these chamber-like versions with just string quartet... it didn't take long to be swayed by the brilliant performances". John Sunier
