Vol 2: Concerti Per Violoncell

For Naive's series of Vivaldi violin concerti, each album is titled and given a theme. If this were done for the cello concerti, perhaps this album's theme would be 'teaching the cello'. Many of these works seem designed for student cellists of the Pieta or upper-class amateur cellists rather than for virtuosos and professionals of the day. Vivaldi sets limits on what he can do in these works as far as length and technical demands go. It is interesting to see how well Vivaldi does under such constraints.

Through great fortune the Vivaldi Scholar Micheal Talbot is on board for vols. 1 and 2 as an adviser and writer of delightful program notes. His one assertion that I disagree with is his assumption based on poorly documented history that Vivaldi wrote for a piccolo cello or any other non-standard instrument. In volume one RV 414, one of my favorites, is played on such an instrument. As a cellist, just looking at the scores suggests to me that all these concerti were written for a standard instrument. Often an assertion is made that the works that require high positions must have used an instrument with an extra string, because thumb position was not invented yet. My opposite assertion is that such works prove that Vivaldi and his circle (and possibly others) were using thumb position in some form already. Lucky, the student level works of vol. 2 make it painfully obvious that only a standard cello was involved, freeing the listener of the piccolo cello's less than ideal tone.

Coin's nuanced, almost over-controlled performances are a wonder to listen to. While the orchestral playing by Il Giardino Armonico is solid, it lacks the vitality of their earlier recordings. It seems they've been usurped by younger, fresher groups to an extent. The balance allows all parts to be heard well, but it features the soloist pushed so far into the forefront as to sound artificial.

The works included are:

Concerto in F major RV 411. This work is aptly described as sunny and fluent by Talbot. It is a small-scale crowd pleaser with memorable melodic ideas.

Concerto in C minor RV 401. This concerto is filled with heartache from beginning to end. It is a masterpiece of emotionally potent writing. Talbot is one of the few experts to correctly propose that this is not an early work, but rather a mid-career effort. Several aspects throw off scholars--the use of odd clefs, the fact that the 2nd violins are in unison with the violas and the full ritornello slow movement are seen as primitive features. Though odd, this work is far from primitive. Although this is a good version, Dieltiens and Ensemble Explorations version is better.

Concerto in E flat major RV. This work starts out with a dashing, jaunty tune that it announces itself with a three strike motif. The solos have the same swagger as the tutti writing. The slow movement is emotionally devastating, while the last movement is a rather easy-going country dance. Again, this version is solid, but Dieltiens is much more intense in every respect.

Concerto in G minor RV 417. This concerto features stormy outer movements and an underrated, intimate movement in B flat major in the middle. It is a classic Vivaldi student piece--not to demanding, but it makes the soloist sound like a master when played well.

Concerto in C major RV 399. This work is probably Vivaldi's easiest cello concerto, yet it still makes the soloist sound impressive. In lesser hands this work has sounded simple rather than charming. Here it's rustic elements are highlighted. The slow movement is elemental, yet somehow quite striking.

Concerto in D major RV 403. I've always had a soft spot for this work. It has a majestic quality yet it doesn't seem aloof. The short slow movement is a pleasure. Somehow, performers always seem to play the tempo of the last movement too slow, without proper vivacity. This recording is no exception.

Concerto in A minor RV 422. This is another classic student work by Vivaldi. It has several outstanding features. One is the clever interaction between the violins in the opening tutti. Another is an outstanding slow movement which has a small ritornello played by the continuo and a gorgeous solo melody. The final movement is almost a tarantella with its dizzying triplets. Embedded within are some groupings of 2 and 4 notes--a very unexpected rhythmic turn.

A solid collection, though I'd look at Dieltiens first.

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