Rachel Podger

When Trios For 4 was first released the Palladian Ensemble was riding high following a sell-out ‘Rising Stars’ concert series in Europe with performances at the Amsterdam Concertgebouw, Konzerthaus Wien, Frankfurt Alte Oper, and London's South Bank Centre. Together Rachel Podger, Pamela Thorby, Susanne Heinrich and William Carter formed a quartet of the highest calibre; confirmed by the solo successes each went on to enjoy in their respective careers. In a cleverly chosen programme the Palladian Ensemble perform works by Handel, Telemann, Leclair and Quantz which perfectly demonstrate the diversity of styles typical of the eighteenth century.

The Palladian Ensemble's very first recording featured a number of pieces by Nicola Matteis…and for a while they used one of them almost as a signature tune. Now they have drawn more items from his huge ragbag of short pieces for two melody instruments and continuo - Ayres with a whole range of titles from Adagio to Jigg to Aria Burlesca con molto bizzarie and Giga Al Genio Turchescho - and made them the main subject of their latest disc, borrowing its title from Roger North's description of Matteis's playing: flaming as I have seen him, in a good humour he hath held the company by the ears…for more than an hour together.

Rameau’s compositional stages included early keyboard works, followed by operas not started until the age of 50 (!), taking a break close to age 60 in order to create the five books of Pieces de clavecin en concerts, which really refer to pieces done in ensemble as opposed to solo harpsichord. These are not Italianate at all, but inundated with a French sensibility where the harpsichord is the be-all and end-all of the proceedings, the accompanying violin and viola da gamba (or flute and second violin, which the composer provided for) ornate and involved yet still not central. This was a natural progression for the composer who had already set a number of solo harpsichord pieces according to descriptive form where the music follows its own natural path in terms of the basic dances that he uses as a foundation.
—Steven Ritter

This is the 49th title in the Vivaldi Edition and the 5th volume, out of approximately 12, of the series dedicated to the violin concertos whose manuscripts are held in the National Library of Turin. All the concertos selected here are linked to German violinist Johann Georg Pisendel, member of the Dresden orchestra, who spent time in Venice in 1716-17, with the Electoral Prince of Saxony Friedrich August. Vivaldi and Pisendel became very close friends and the Red Priest composed several works for Pisendel. Moreover, Pisendel copied and performed afterwards in Germany several concertos by Vivaldi.