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Vivaldi Concerti

Pieter Wispelwey, Florilegium

Antonio Vivaldi

SKU: 10097

Year of release: 1997

1. Larghetto in d minor Antonio Vivaldi 01:34
Concerto in a minor 08:57
2. Allegro Antonio Vivaldi 03:02
3. Siciliano Antonio Vivaldi 03:11
4. Allegro Antonio Vivaldi 02:43
5. Largo in F Major Antonio Vivaldi 02:36
Concerto in F Major 07:57
6. Allegro Antonio Vivaldi 03:07
7. Largo Antonio Vivaldi 02:57
8. Allegro Molto Antonio Vivaldi 01:52
9. Adagio in C Major Antonio Vivaldi 02:13
10. Allegro Vivace in D Major Antonio Vivaldi 02:24
11. Largo in D Major Antonio Vivaldi 01:34
Concerto in b minor 10:04
12. Allegro Non Molto Antonio Vivaldi 04:17
13. Largo Antonio Vivaldi 02:34
14. Allegro Antonio Vivaldi 03:12
15. Largo in C Major Antonio Vivaldi 02:43
Concerto in G Major 08:17
16. Allegro Antonio Vivaldi 02:45
17. Largo Antonio Vivaldi 03:05
18. Allegro Antonio Vivaldi 02:25
19. Largo in G Major Antonio Vivaldi 01:46
Concerto in a minor 06:25
20. Allegro Non Tropo Antonio Vivaldi 02:45
21. Largo Antonio Vivaldi 01:27
22. Allegro Antonio Vivaldi 02:11
23. Alla Breve In G Antonio Vivaldi 02:51
Total time: 59:27

About this album

ANTONIO VIVALDI celebrated scorned loved hated. 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.

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Reviews

Luister

(...) De fraaie kroon op Channels eerste honderdtal is er dus. (...)

Birmingham Evening Mail

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

The Strad

(...) 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.

Tune Magazine

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. 

Noord Hollands Dagblad

(...) 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.

Classic CD

(...) 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.

NRC

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

Klassiek

(...) 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. 

Leeuwarder Courant

(...) Inventief, geraffineerd spel (...) (...) Speelser, gedrevener en grilliger kan eigenlijk niet. (...)

Gramophone

(...) 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.

Fono Forum

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. (...)

Telegraaf

(...) 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. (...)

Luister

(...) 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 (...)

CD Classica

Giudizio tecnica: Ottimo Interpretazione: Ottima (...) allora questa un'occasione da non perdere.

Belgium Review

(...) 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. (...)

Technical Specifications

483recording_software
492mastering_equiment
491mastering_equiment
441recording_notes
455production
454recording_location
Digital To Analog Convertersony
Mastering EquimentSony DAE 3000
Mastering EngineerJared Sacks
Mixing ConsoleRens Heijnis
MicrophonesBruel & Kjaer, Schoeps
Recording Formatpcm 44.1
Analog To Digital ConverterDCS900
Recording DateAugust 1996
Recording LocationUnited Reform Church, Highgate, London, England
EditingJared Sacks
Recording EngineerJared Sacks
ProducerWalter van Hauwe, Pieter Wispelwey