Vivaldi Sacd

Antonio Vivaldi - Four Seasons / Concerto RV317 in G minor / Concerto RV257 in E flat major
Polish Chamber Philharmonic Orchestra / Daniel Gaede, violin / Wojciech Rajski
EAC+LOG+CUE | FLAC: 289 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Tacet # TACET S 163 | Country/Year: Germany 2008
Genre: Classical | Style: Baroque

Part of Tacet's "Tube Only" recording series. No transistors were used within the recordig chain.

Antonio Vivaldi - Four Seasons / Concerto RV317 in G minor / Concerto RV257 in E flat major
Polish Chamber Philharmonic Orchestra / Daniel Gaede, violin / Wojciech Rajski
EAC+LOG+CUE | FLAC: 289 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Tacet # TACET S 163 | Country/Year: Germany 2008
Genre: Classical | Style: Baroque

Part of Tacet's "Tube Only" recording series. No transistors were used within the recordig chain.

Antonio Vivaldi - Four Seasons / Concerto RV317 in G minor / Concerto RV257 in E flat major
Polish Chamber Philharmonic Orchestra / Daniel Gaede, violin / Wojciech Rajski
EAC+LOG+CUE | FLAC: 289 MB | Artwork | 5% Recovery Info
Label/Cat#: Tacet # TACET S 163 | Country/Year: Germany 2008
Genre: Classical | Style: Baroque

Part of Tacet's "Tube Only" recording series. No transistors were used within the recordig chain.

The world was hardly clamoring for another recording of Vivaldi's Four Seasons violin concertos, but the Australian Chamber Orchestra has evolved into one of the world's top concert attractions, and it's natural that their fans would want to hear them in this ubiquitous work. Violin soloist Richard Tognetti plays a 1743 Guarneri instrument with a powerfully flashy tone, and he gets a large variety of sounds from it. These are complemented by the inclusion in the booklet of the four sonnets included by Vivaldi in the score (and possibly written by the composer himself).

The world was hardly clamoring for another recording of Vivaldi's Four Seasons violin concertos, but the Australian Chamber Orchestra has evolved into one of the world's top concert attractions, and it's natural that their fans would want to hear them in this ubiquitous work. Violin soloist Richard Tognetti plays a 1743 Guarneri instrument with a powerfully flashy tone, and he gets a large variety of sounds from it. These are complemented by the inclusion in the booklet of the four sonnets included by Vivaldi in the score (and possibly written by the composer himself).

There is a story about Arnold Schoenberg that bears retelling now. He was in the midst of teaching a class at UCLA when a colleague burst in excitedly proclaiming "Arnold! I am just hearing Verklärte Nacht mit HORNS!" Amid much startled posturing the two rushed out to destinations unknown, leaving the class unacknowledged. But all the various arrangements of Schoenberg’s work (I’ve never heard it with horns, but the string orchestra version with timpani is quite a good one) don’t begin to compare with the numerous outrages wreaked upon this helpless Vivaldi composition.

Linn's Vivaldi: L'Amore per Elvira, featuring the English group La Serenissima under the direction of Adrian Chandler, has quite a bit to offer the Vivaldi fancier. First are Chandler's excellent reconstructions of two of the fragmentary "Graz" violin sonatas that have not come down with their continuo parts intact. Chandler has filled in the missing music with entirely satisfactory replacements that appear to be seamlessly Vivaldian, rendering these works into a listenable form for the first time.

The concerto, with its soloist thrilling and moving an audience with the support of an orchestra, has been one of the most popular musical forms for over 300 years. Now imagine a concerto for two instruments: twice the virtuosity and twice the expression!

In Venice in the 18th century, Christmas was celebrated as only Venetians know how to celebrate: according to one account, more wax was burnt to light up the three storeys of the Procuratie on Christmas Eve, than in all the rest of Italy in an entire year. At the same time, rather than being an independent feast – and as such, the most singularly important one of the year – the Venetian Christmas was also part of the city's famous Carnevale, which at this time lasted for almost six months. This lent a rather special character to the celebrations, compared with for instance the more clerically inclined Rome.