#italiano

Boris Begelman, the highly acclaimed leader of Concerto Italiano, frequently takes on the role of soloist in the many concerts that Rinaldo Alessandrini’s celebrated orchestra devotes to the music of Vivaldi and his contemporaries. High time then for Begelman to take centre stage in one of the Vivaldi Edition’s solo violin recordings. This ninth concerto volume sees the welcome return of Rinaldo Alessandrini’s ensemble, which already features in thirteen albums of the Vivaldi collection. In this purely instrumental repertoire they excel as much as they do in vocal music, deploying generously sweeping melodic lines, inspired dynamics, and a musical language already mastered to perfection yet always interpreted anew.

The CD, unreleased as always, is dedicated to two masterpieces by Ludwig van Beethoven: the Trio op. 3 in E flat major and the Trio op. 9 no. 3 in C minor. They are performed by the New Italian String Trio formed by Alessandro Milani, violin; Luca Ranieri, viola and Pierpaolo Toso, cello. All three first parts of the Rai National Symphony Orchestra.

This venerable recording by the Italian Quartet from 1965 was, for many years, the standard reference copy of both works either individually or as a coupling. One of the considerable virtues of this group of players was that they could always be relied upon to play in tune and to play with musicianship. The competition was not so strong as it is today as many of the alternative groups simply could not deliver accuracy in tuning (or even worse, the notes). This was rarely commented upon in review magazines at the time, a source of complete bemusement for me, but as one who was expected to play in tune I found listening to string chamber music almost beyond bearing for much of the time - except for this group.

Historical recordings: The ensemble's confidently-chosen name made it clear from the outset that the Quartetto Italiano saw itself not simply as an Italian string quartet among many, but as the authoritative one. The ensemble was soon recognized as a pioneer of Italian chamber music culture following the Second World War. Through their tireless obsession with detail, in-depth exploration of the works' musical expression, and the remarkable homogeneity of their quartet sound, the Quartetto Italiano conquered a firm place in the top league of leading string quartets over the first two decades of their career.

Historical recordings: The ensemble's confidently-chosen name made it clear from the outset that the Quartetto Italiano saw itself not simply as an Italian string quartet among many, but as the authoritative one. The ensemble was soon recognized as a pioneer of Italian chamber music culture following the Second World War. Through their tireless obsession with detail, in-depth exploration of the works' musical expression, and the remarkable homogeneity of their quartet sound, the Quartetto Italiano conquered a firm place in the top league of leading string quartets over the first two decades of their career.

Monteverdi was only 23 when he published his Second Book of Madrigals in 1590, but he was already a master of the form, and these contrapuntally lively pieces, with their supple and astute text setting, are crowning works of late Renaissance secular polyphony. With this release of the Second Book, Rinaldo Alessandrini moves closer to his goal of recording all of Monteverdi's eight Books of Madrigals, performed by Concerto Italiano, the ensemble he founded in 1984. The series has received much-deserved critical acclaim; three of the releases won Gramophone Awards, and this 1994 recording won a Diapason d'Or. Concerto Italiano is a group whose roster is flexible, based on the requirements of the music performed, and here seven unaccompanied singers configure themselves in a variety of combinations in the five-part madrigals.