Concerti per le Solennità

18th century Venice was a haven of free thinking with respect to the rest of Europe, theatres and churches vying with each other for both audience and celebrities for their performances. It was in this exciting yet extremely competitive atmosphere that Antonio Vivaldi proved his talent as violinist, composer and conductor.

 

This collection of 6 violin concerti is representative of concerti composed by Vivaldi for religious festivals from the period of approximately 1712 to after 1735, for churches in various cities in the region of Venice. Remarkable are the two concerti for the Feast of the Assumption (RV 581 & RV 582) in which the Sonatori is arranged into two groups to achieve the sound of the double choir; the only two festival pieces witten by Vivaldi that employ this technique. Now recorded for the first time ever, is his alternate version of the 2nd movement “Largo”” for the C Major Concerto RV 581, the manuscript newly discovered by the Sonatori themselves in the library of the Conservatory of Venice. Unlike the more often played score kept in Turino, this version shocks and delights the listner with the unexpected; an example of Vivaldi ahead of his time.

 

An equally sensational discovery of an original manuscript of the Concerto in D major, RV 212 for the Basilica of St. Anthony in Padova, provided the Sonatori the tools with which to recreate the magical performance of Antonio Vivaldi and his father Giovanni Battista in Padova, Feb. 15, 1712. Giuliano Carmignola emulates the spirit of Vivaldi himself like never before, especially in his virtuosic rendition of Vivaldi’s own written cadenzas which were discovered with the scores.

 

In the remaining concerti a vast wealth of stylistic variety is revealed, as well as the sincere religious inspiration of a composer who, let us not forget, was a also a priest. Their range of musical characteristics includes a triumphant military style (Concerto RV 208, “Grosso Mogul”), to a pure and intimate sound created by the elimination of the basso continuo (ConcertoRV 270 “For the Christmas Festival”), to the more classical elements of his last period.