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SIG 037
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SIG 037

Vivaldi - Sonatas & Chamber Music for Oboe

The Classical Shop
release date: July 2007

Originally recorded in 2007

Venue:

St Andrews Church, Toddington, Gloucestershire

19-22 Nov 2002

Producer:

John Hadden



Engineer:

John Hadden



Record Label
Signum

Genre:

Woodwind


Organ

Total Time - 72:53
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Pellegrina's Delight
   
Select Complete Single Disc for
 

ANTONIO VIVALDI

 

Sonata in C minor, RV 53

 
1 Adagio; a,c,f 2:28
2 Allegro; a,c,f 2:24
3 Andante; a, c, f 3:59
4 Allegro; a, c, f 3:10
   
 

Sonata in C major, RV 779

 
5 Andante; a, b, d, e 3:40
6 Allegro; a, b, d, e 3:59
7 Largo e cantabile; a, b, d, e 2:19
8 Allegro; a, b, d, e 4:17
   
 

Sonata in G minor, RV 28

 
9 [Adagio]; a, c, e 2:28
10 [Allegro]; a, c, e 2:15
11 Largo; a, c, e 2:51
12 Allegro; a, c, e 2:12
   
 

Trio-sonata in E minor, Op.1 no.2, RV 67

 
13 Grave; a, c, d, f 2:10
14 Corrente Allegro; a, c, d, f 2:14
15 Giga Allegro; a, c, d, f 2:05
16 Gavotta Allegro; a, c, d, f 1:00
   
 

Concerto in G minor, RV 106

 
17 [Allegro]; a, b, d, e, g 2:59
18 Largo; a, d, g 4:26
19 Allegro; a, b, d, e, g 2:39
   
 

Sonata in Bb, RV 34

 
20 Adagio; a, c, e 1:29
21 Allegro; a, c, e 2:17
22 Largo; a, c, e 1:30
23 Allegro; a, c, e 2:10
   
 

Sonata in 4 in C mjaor, RV 801

 
24 Largo; a, c, d, e, g 4:15
25 Allegro; a, c, d, e, g 2:18
26 Largo; a, c, d, e, g 2:40
27 Allegro; a, c, d, e, g 2:39


Signum Records is delighted to announce  the release of Gail Hennessy (baroque oboe) and Nicholas Parle (organ and harpsichord)’s second collaborative disc on Signum Records.

Pellegrina’s Delight celebrates Vivaldi’s contribution to oboe repertoire in the early eighteenth century. Vivaldi wrote at least 16 concerti for solo oboe, but in this recording we offer an overview of Vivaldi’s prominent use of the solo oboe in his chamber music. The disc also provides a fascinating illustration of Vivaldi’s stylistic development between c.1705 and c.1720.

The Quartet Sonata in C major (RV 779) was written during the first decade of Vivaldi’s activity as a composer, when he was serving as a violin teacher at the Ospedale della Piet in Venice. Selected girls were admitted - after audition - to the musical establishment. Vivaldi made a note in this manuscript of the names of the four female musicians who were chosen to perform the sonata. They are Pellegrina (oboe), Prudenza (violin), Lucietta (organ) and Candida (chalumeau).

Other works featured on this disc are the Sonata for oboe and continuo in C minor, RV 53, the Sonata in G minor, RV 28 the Trio-sonata in E minor, Op. 1 no. 2, RV 67, the Concerto for flute, violin and bassoon in G minor, RV 106 (presented with the oboe taking the part of first treble instrument, the Sonata in B-flat major, RV 34 and the Sonata a 4 in C major, RV 801.
 

"The Oboe occupies a privileged position in Vivaldi’s chamber works. The modest number of sonatas explicitly written for the instrument is more than made up for by the prime role accorded to it in delightful concerti da camera and in a number of experimental pieces composed for the Pieta school. Moreover, various sonatas preserved in Dresden with no indication as to the instruments they intended for look as is they might be assignable to the oboe on account of their technical features and register.

The recital presented here offers a comprehensive and musicologically engaging overview of this field as a whole. The dazzling RV 53 sonata, its Dresden cousins RV 28 & 34 and the concerto RV 106 (with modified orchestration) are presented here alongside the Sonata a quattro  RV 779 and the Quadro RV 801, two scores that defy classification and bear witness to Vivaldi’s explorations of instrumental timbres and interrelationships at his Venetian laboratory. More originally, the performers also offer a violin and oboe version of the second sonata in the opus 1 set (RV 67). originally intended for two violins though lending themselves well to other instrumentation, as Michael Talbot reminds us in his excellent notes.

Unfortunately the conscientious reading brought to us by Gail Hennessy, Nicholas Parle and their fellow musicians is not on a par with their meticulous musicological approach. The overly faint hearted oboe and the prim-and=proper violin set a reserved tone for the respectable but soulless ensemble. Scant verve is brought to the rendering of these scintillating works."

Frédéric Delaméa

Goldberg Magazine - February 2004



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