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Reviewer: Joseph
Magil
These concertos are preserved
in manuscripts the composer sold to Count Vinciguerra Tomasso Collalto in
1741 shortly before he died during his trip to Vienna. They are being
published as part of the Vivaldi Edition, which is drawing from the
collection of composer manuscripts held by the Italian National Library in
Turin. These works were probably composed between the mid-1720s and the
mid-1730s.
These pieces are new to me,
and Vivaldi’s invention never ceases to amaze me. So many baroque
compositions have a cookie-cutter sound. In a program of such works, I
cannot distinguish one from another; they all blend together into one
endless composition. But that is never the case with Vivaldi. The man’s
imagination seems never to have run dry. Solo figures and orchestral
textures and rhythms vary constantly, and a different mood is established in
each work. No wonder Bach loved to steal from him. These performances are
bold and very polished. They don’t have the puritanical quality that one
hears from many other period performance practice groups; they play with
relish and gusto. Naive’s clean stereo sound captures the music’s occasional
subtle spatial effects. | |
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