Sardelli Vivaldi

Over the past ten years, thanks in part to the stimulus of the Vivaldi Edition project, several manuscripts by Vivaldi have surfaced in different countries. Federico Maria Sardelli has decided to record the finest of them. So this recording does indeed present new works by Vivaldi. The content is very diverse, ranging from a motet, which is performed by the mezzo-soprano Romina Basso, to an Oboe Concerto, a Recorder Concerto, arias and other gems. There is a clear pattern to these discoveries. Almost all come from peripheral sources, and most appear to originate from special commissions at the margin of the composer’s activity.

The Bulgarian violinist Kremena Nikolova and her ensemble Vivaldi Society enlarge the spectrum around the solo concertos by Vivaldi presenting a program with concertos for violin and viola d’amore by Vivaldi together with compositions by Sardelli, Martynov and Bersanetti, three contemporary composers that consider themselves as followers of the tradition of the Venetian master.

The most beautiful arias from the Vivaldi Edition: Orlando Furioso, Atenaide, Farnace, Teuzzone, Armida, La Fida Ninfa, Orlando 1714, Griselda, Ottone in villa and much more. The album includes outstanding singers and arias that were sensational discoveries when first introduced in this series.

The Bulgarian violinist Kremena Nikolova and her ensemble Vivaldi Society enlarge the spectrum around the solo concertos by Vivaldi presenting a program with concertos for violin and viola d’amore by Vivaldi together with compositions by Sardelli, Martynov and Bersanetti, three contemporary composers that consider themselves as followers of the tradition of the Venetian master.

An innovator and a revolutionary composer, its thanks to the Red Priest that the solo concerto made its way through Europe, influencing the likes of J. S. Bach and Handel and the subsequent course of music history. Published in 1714 (or 1716 as most scholars today tend to believe) and reprinted illegally numerous times in pre-copyright Europe, La Stravaganza, Op. 4 contains 12 solo concertos which can be defined as unsurpassed models of their kind, and the manifesto of Vivaldis aesthetic.

An innovator and a revolutionary composer, its thanks to the Red Priest that the solo concerto made its way through Europe, influencing the likes of J. S. Bach and Handel and the subsequent course of music history. Published in 1714 (or 1716 as most scholars today tend to believe) and reprinted illegally numerous times in pre-copyright Europe, La Stravaganza, Op. 4 contains 12 solo concertos which can be defined as unsurpassed models of their kind, and the manifesto of Vivaldis aesthetic.

Antonio Vivaldi - The Young Vivaldi: RV 820 and Other Rare Early Works - Modo Antiquo, Sardelli (2015) {Harmonia Mundi}
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Classical / Baroque

For Vivaldi and other Baroque composers, it has often been difficult to assign works accurately to chronological periods, but this has become easier in Vivaldi's case as works are discovered and manuscripts analyzed. The Italian historical-performance group Modo Antiquo under Federico Maria Sardelli therefore deserves kudos for this collection of works by the young Vivaldi, especially inasmuch as one of the works here, the Sonata in G major for violin, cello, and continuo, RV 820, has been authenticated and dated by the conductor. That work was copied out shortly after 1700 and thus seems to have been a product of Vivaldi's early twenties and to have been his earliest surviving chamber work.

Vivaldi's operas are rarely recorded and even less often performed, but happily they are gradually gaining more exposure. The most familiar and most frequently recorded is his 1727 Orlando Furioso. The fact that it has been on the public's radar is due largely to an excellent 1977 recording starring Marilyn Horne and Victoria de los Angeles, which has been reissued on Erato. The opera has since been recorded twice, and a DVD of a 1989 San Francisco Opera production featuring Horne and Kathleen Kuhlmann has been released. The newer CDs are extraordinarily fine; in choosing between Naïve's 2005 version led by Jean-Christophe Spinosi and this CPO release conducted by Federico Maria Sardelli, the listener is in a win-win position. Both feature stellar soloists, who are also compelling actors, and beautiful orchestral playing.