Vivaldi augmented his reputation as The Red Priest with L'Estro Armonico , Op. 3, a collection of twelve concertos for one, two and four violins. The title of the collection encapsulates the qualities that so entranced Vivaldi's contemporaries. L Estro Armonico , which might be translated as musical rapture , reflects the vitality and freshness of Vivaldi's invention: its rhythmic energy, melodic and harmonic intensity,textural sensuousness,performative brilliance and dramatic flair.
Sony Classical will reissue its recordings by Tafelmusik, the GRAMMY-nominated period-instrument orchestra, in a new box set of 47 CDs. Originally released between 1989 and 1998, the recordings of the famed orchestra's Baroque and Classical repertoire are all being issued together for the first time in a single Sony Classical box set.
In tandem with the “Vivaldian ardour” (International Record Review) of conductor-harpsichordist Andrea Marcon and his Venice Baroque Orchestra, violinist Giuliano Carmignola – “a wonderfully accomplished player” (Gramophone) – has raised the bar on recordings of the Venetian Baroque master. This 7-CD set contains many of Vivaldi’s most engaging concertos, enlivened with playing “full of character, energy and sensibility” (BBC Music Magazine) – including “a performance of the Four Seasons as fine as any” (ClassicsToday). It also features Carmignola and Marcon presenting the complete Bach Violin and Harpsichord Sonatas
Metamorphosis - for me - has always been a concept taken from the script of a film noir and occasionally translated into real life - or culled from a Hitchcock movie or from Alice in Wonderland. From a purely aesthetic (and artistic) point of view I have been especially interested in two things - creating the "inexistent" and transforming "worlds", and also in consolidating what is invisible to the human eye, or what is inaudible to the human ear.
It would be no exaggeration to name Antonio Vivaldi as the “pioneer of the bassoon concerto”. The first milestone in the emancipation of the bassoon, until the beginning of the 17 century exclusively used as a basso continuo instrument, for which the part wasn’t even written out, was a series of nine virtuoso bassoon sonatas published by Giovanni Antonio Bertoli in 1645.