V I V A L D I RECORDER CONCERTOS DAN LAURIN 1B1 / JAN BJØRANGER VIVALDI, Antoni

V I V A L D I RECORDER CONCERTOS DAN LAURIN 1B1 / JAN BJØRANGER VIVALDI, Antonio (1678–1741) Concerto in G major, RV443 10'23 I. [Allegro] 3'33 II. [Largo] 3'56 III. Allegro molto 2'50 Concerto in A minor, RV108, for recorder, 2 violins & b.c. 7'30 I. Allegro 2'41 II. [Adagio] 2'32 III. [Allegro] 2'16 Jan Bjøranger & Benedicte Kyllingstad violins Concerto in F major, RV442 9'01 I. Allegro ma non molto 3'31 II. Largo cantabile 3'48 III. Allegro 1'41 Concerto in C major, RV444 9'50 I. Allegro non molto 4'29 II. Largo 2'09 III. Allegro molto 3'08 Concerto in E minor, RV445 10'37 I. Allegro 4'27 II. Larghetto 2'40 III. [Allegro] 3'26 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 2 Concerto in D major, RV92, for recorder, violin & b.c. 10'49 I. Allegro 3'43 II. [Adagio] 3'46 III. [Allegro] 3'19 Jan Bjøranger violin Concerto in C minor, RV441 10'41 I. Allegro non molto 4'49 II. Largo 2'27 III. [Allegro] 3'23 TT: 70'03 Dan Laurin recorder and musical direction 1B1 · Jan Bjøranger leader Anna Paradiso harpsichord Jonas Nordberg theorbo/ baroque guitar The Concertos RV443 and RV445 are traditionally performed on the flautino (sopranino recorder) in C major and A minor respectively. In the original scores to these works there is however a notation ‘alla quarta bassa’ which some modern researchers interpret as an indication that they should be transposed a fourth down, and played on a soprano recorder. For the present recording this is how we have chosen to perform these two concertos. Scores and parts: Andrea Bornstein (Flauto Dolce) and original manuscripts, with additional revisions to RV441 by Dan Laurin 16 17 18 19 20 21 3 Players and Instrumentarium Recorders Dan Laurin RV443: Soprano recorder after Domenico Perosa by Luca de Paolis RV108 & RV442: Alto recorder in maple after Jacob Denner by Philippe Laché RV444: Sopranino after Jacob Denner by Bodil Diesen RV445: Soprano recorder after B. Reich by Philippe Laché RV92: Alto recorder in G by Frederick Morgan RV441: Alto recorder in boxwood after Jacob Denner by Philippe Laché My warm thanks to Mag. Dr Beatrix Darmstädter at the Kunsthistorisches Museum Wien: Collection of Historic Musical Instruments, for providing material regarding Domenico Perosa’s soprano recorder. Dan Laurin Violin I Jan Bjøranger (artistic director 1B1) Domenicus Montagnana 1725 Leah Tagami Meredith Andreas Hudelmayer 2011 Violin II Benedicte Kyllingstad Nicolo Gagliano c.1760 Harald Grimsrud Jean-Baptiste Vuillaume 1854 Viola Wouter Raubenheimer Paulus Pilat, New York 1928 Cello Ilmari Hopkins Giuseppe Desiato, Naples 1902 Double Bass Ivan Zavgorodniy Joseppe Pedrazzini Theorbo/Baroque Guitar Jonas Nordberg 14 course theorbo by Lars Jönsson (1998) after M. Tieffenbrucker Baroque guitar by Hendrik Hasenfuss (2004) after M. Sellas Harpsichord Anna Paradiso Copy of the ‘Colmar Ruckers’ (1624) by Max Doronin 2009 Thanks to Glenn Paulsen, orchestra manager of Stavanger Symphony Orchestra, for kindly making available the orchestra’s harpsichord for this recording. 4 T he reawakened interest in the recorder at the beginning of the 20th century coincided with the discovery of a huge collection of manuscripts which would turn out to contain more or less all the music by Antonio Lucio Vivaldi that has been preserved. The circumstances surrounding this discovery, made in the mid-twenties, are the ingredients of an extraordinary thriller of the best kind: intrepid musicologists and brave librarians struggling against avaricious col - lectors and the fanatic bureaucrats of budding fascism. Even more remarkable is the fact that Vivaldi at this point in time was completely forgotten. Following World War II and 200 years after his death, the composer made a splendid comeback, thanks to the first complete edition of his music – and we recorder players were suddenly given the opportunity to play technically demanding works with orchestra in prestigious concert venues. The recorder concertos have reached a wide audience and have certainly helped in making the instrument more widely known. This is largely due to the recording career of their creator during the past century, for which, in turn, we must thank the LP and stereo techniques in combination with some excep tional performances from the master recorder players of the 1960s. The etymology of the word ‘concerto’ is fascinating as well as ambiguous. Two Latin origins that have been suggested are ‘conserere’ – ‘to join together’ – and ‘con certare’, a word with the more or less opposite meaning of ‘to fight one an - other’. It is the latter concept that Vivaldi develops into a duel between soloist and orchestra: the tutti sections provide stability and objectivity, while the soloist, with sharply contrasting themes, is in opposition from the outset. The composer’s motive is of course to create a dialectical tension which will propel the work forward, not just emotionally but also structurally. In the first movement of RV441 Vivaldi fol - lows a plan with four tutti sections interspersed with three solos. The solos each have their own function: the first one positions the soloist in opposition to the tutti theme, the second allows him to demonstrate his powers (including physical ones!) 5 in technically difficult passages, while the third solo speaks to the emotions in a bid to win the argument by going straight to the listener’s heart. There are deviations from this structure, however – most clearly in RV442, where Vivaldi has the soloist develop the tutti theme in both outer movements. As a result this concerto appears to be far more balanced, even pastoral, than the other works on this disc. Possibly an example of ‘conserere’ winning the day: to join together… A close reading of RV441 and RV443–445 reveals great similarities between these works and Vivaldi’s greatest ‘hit’ in modern times, The Four Seasons: sudden changes of moods, turbulent emotions, burlesque whims mixed with sublime beauty and elegance… in short an operatic treatment of the concerto form which rarely is brought out in recordings of the recorder concertos. (Among these I include my own previous attempts, on BIS-635 and BIS-865.) After having recorded the Seasons myself (on BIS-1605), I have been able to identify similar writing in more and more of Vivaldi’s other concertos. My aim here is to explore these ‘musical codes’ in the recorder concertos with the same freedom and spontaneity that charac - terize the modern-day approach to the Seasons. The ‘concerti per flautino’, RV443–445, contain much drama: the modulations to distant keys are more numerous than in many other concertos by Vivaldi, and he provides for more solo sections than in, for instance, RV441. In RV443 I try to pursue my aims as far as possible, in order to tell the story I detect in the work. The first solo of the opening movement is very special: the tiny flute is entrusted with pompous, grand gestures completely out of proportion to its size. To my ears, the effect is comical, making me think of a belligerent Chihuahua lacking all aware - ness of its diminutive size. In order to emphasize this I allow myself a certain rhyth - mic freedom (agogics, rubato). The second solo is an example of the extended arpeggio sequences that Vivaldi has picked up from the world of the violin, trans - ferring them directly to the recorder. Here the viola shoulders the role of bass instru - 6 ment, and I have taken the liberty of having a guitar providing chords in a passage which is normally played without continuo. My justification is that in other con - certos Vivaldi gives the bass line to the violas or violins in a similar manner, and there notates it in bass clef – a practice which has puzzled modern performers. In the third solo there are rapid modulations between keys in a confusing, labyrinthine game; perhaps Vivaldi wanted to demon strate the unusual ease with which the recorder moves through different keys? The fourth solo I understand as an exten - sive, written-out cadenza in three parts: first extremely wide, heroic leaps, followed by series of arpeggios and finally a com pletely motionless continuo accompanying a recorder part in which nothing seems to be impossible. To my mind the rhapsodic nature of the final solo indicates that it should be interpreted in a rhapsodic manner: there must be a connection between how one reads a score and the expressive means one selects. The question is why Vivaldi, at the end of a movement, chooses to use these radical elements and thus to undermine the form. This may be less peculiar than it seems, however: the rhetorical struggle between sense (the tutti) and sensibility (the soloist) is, after all, the raison d’être of the concerto form, as well as a reflection of the baroque conception of Man’s uncertain path between passion and discipline – an association between aes thetics and ethics which highlights the educative qualities of music. To my mind it is impossible to present the wealth of ideas and notions that this concerto offers with out making the necessary changes in one’s style of playing. In uploads/Management/ booklet-vivaldiconcertos-danlaurin-pdf.pdf

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