Whole books have been written on Antonio Vivaldi and his instrumental works, but these five keyboard works have generally been neglected. Here, the works are interpreted according to the basic idea that they are in fact chamber music, which is suggested by their structure.
They include aspects of the tutti / solo pattern, but they also include dialogue in which soloists and all the other instruments are on the same plane. The music is developed through counterpoint and imitation. In line with this interpretation, the bass of the two sonatas is played by solo organ.
The keyboard is a soloist in the conception of sound, rather than being a more obscure complementary bass melody instrument, as is opportune in many cases. The organ is a valid second voice in creating the conversational intimacy which the music suggests.
Concerto in do maggiore, a violino, violoncello, organo e archi RV 554
Concerto in re minore, a violino, organo e archi RV 541
Sonata in fa maggiore, a flauto diritto e basso RV 52
Concerto in fa maggiore, a violino, organo e archi RV 542
Concerto in do minore, a violino, organo e archi RV 766
Sonata in re minore a flauto e basso (attr.)
Concerto in fa maggiore, a violino, organo e archi RV 767
su strumenti originali
Fabio Cafaro, solo violin
Raffaele Sorrentino, solo violoncello & continuo
Martino Noferi, recorder
Maria Paola Cavallini, violin
Rosario Di Meglio, alto
Carlo Pelliccione, contrabbasso
Giangiacomo Pinardi, theorbo & guitar
Ottaviano Tenerani, musical direction & organ
FANFARE: Robert Maxham
This recording features two complete collections: the concertos for organ and violin (in one case, organ, violin, and cello) and the sonatas for recorder and bass by Il Rossignolo, one of modern Italy’s finest Early Music ensembles, playing authentic instruments. Allegro music com – October 2006
For this fascinating repertoire Tenerani opts for a small group, determined in their intention and successful in the colour of their sound and technical precision. The conductor goes back to playing the organ for a close and sensitive accompaniment of Martino Noferi in the chamber music, played with the same enthusiasm and spirit of participation. Mario Marcarini – Musica, November 2006