VIVALDI: CONCERTOS FOR STRINGS

I have been a fervent admirer of this Canadian period-instrument ensemble since hearing its first CD on the Hyperion label (12/87) in a programme of vocal and instrumental pieces by Vivaldi. The new Vivaldi disc is entirely instrumental containing a very well balanced and carefully planned programme of nine concertos, no less, for a variety of string combinations. Four of them are ripieno concertos without soloist in which Vivaldi sometimes foreshadows the early symphonists; another (RV549), a work for four violins with a concertante cello in the first movement, is the opening piece in Vivaldi's earliest concerto collection, L'es!ro armonico (Op. 3). The remaining four feature the cello to a far greater extent. Two are for solo cello and strings (RV413 and 418), the third for violin and cello (RV547), one of two which Vivaldi wrote for this combination, and the fourth (RV575) for two violins and two cellos.

The cellist Anner Bylsma requires no introduction to regular readers of these pages. For almost 30 years he has been making outstanding recordings of baroque and early classical repertory, both as a soloist and as an ensemble player. It would seem Tafelmusik have constructed this programme in his honour and I hope it is the first of many, since the chemistry between soloists and ensemble works exceptionally well.

Although Vivaldi wrote as many as 27 cello concertos, I have yet to find a dull one. The two recorded here are splendid examples of the composer's skill in writing for this instrument. But I must register the strongest protest at the tempo chosen for the opening movement of RV4I3. Though brilliantly played—there is no denying that—it is absurdly brisk allowing the music not one moment to breathe. All the more a pity, since the movement is a particularly engaging one with an airy rococo gracefulness, an abundance of appoggiaturas and affecting weakly stressed phrase endings. If you are looking for a more eloquent, communicative performance of this delightful piece then Christophe Coin (L'OiseauLyre) provides it.

Apart from this single criticism I have little but praise for an outstanding disc. The concerto for violin and cello and that for two violins and two cellos come off admirably; tempos are effectively judged, though a shade hard driven at times, and plenty of attention is given to achieving clear textures. Both face stiff competition from existing recordings in The Classical Catalogue, RV547 from a sparkling performance by Europa Galante (Opus 111) and RV575 from the Taverner Players (EMI). As I have implied, the remainder of the programme is first-rate, musically and from an interpretative standpoint; I especially enjoyed Tafelmusik's affectionate, gently spoken account of the attractive ripieno Concerto in A major (RV159) with which they conclude the disc. Fine recorded sound. Only the hardest of hearts will resist the melancholy Largo of RV575 (scored for the four soloists with continuo) and the affecting melodic ideas shared between violins and cellos in its finale. Strongly recommended.

-- Gramophone [9/1992]