Daniel Hope VIVALDI
The multiple impulses behind the creation of this recording stem from the circumstances of Daniel Hope’s career. As a teenager he often played the D minor Concerto Grosso RV 565 with his mentor Yehudi Menuhin. But the immediate spur has been Hope’s collaboration with the Chamber Orchestra of Europe, most recently in their recording of Mendelssohn, but even more significantly in Bach’s violin concerti and the Fifth Brandenburg Concerto. “That was my first experience of recording Baroque music,” he says. “Working with COE was inspirational: it changed my whole perception of what one could do with this music. I hadn’t realized how far I could go in terms of improvisation and ornamentation – or how rich the sound could still be when playing with such a small ensemble.”
Daniel Hope has lived with Vivaldi since his earliest years, “because of the ridiculous but still prevalent notion that his music is easy to play. The A minor concerto from L’estro armonico is given to many children as soon as they’ve learned how to hold the bow – it was my first Suzuki method piece when I was about five or six. Yet Vivaldi composed more spectacularly for the violin than anyone else in his time. The brilliance and originality of his writing is breathtaking, pushing the instrument to the limits – he himself was known for embroidering his cadenzas, using high positions on the fingerboard, working at extraordinary speeds.” These qualities – together with the emotional subtlety of the music – are what Hope is celebrating with this disc,
highlighting the various ways in which Vivaldi uses the violin as an expressive tool, “on its own, in a concerto, in chamber music, or as a counterbalance to the human voice, as in the aria ‘Sovvente il sole’, which has an interesting history.” Indeed it has. Until its recent rediscovery,
the work of which it forms a part – Andromeda liberata – had lain forgotten in the archives. This “serenata” – across between cantata and opera, designed for open-air performance – was composed in 1726 in honour of the music-loving Cardinal Pietro Ottoboni’s return to his native Venice. Only “Sovvente il sole” can be definitively attributed to Vivaldi, who probably played its elaborate violin obbligato. The aria would originally have been sung by a countertenor, but Daniel Hope wanted to record it with the mezzo-soprano Anne Sofie von Otter. “As soon as I heard this aria, I fell in love with it,” he says. “And I could imagine exactly how she would sing it. I was also keen to remind people of the expressive beauty of Vivaldi’s operatic music, as he is still known to many only as a composer of concerti.” (Michael Church)
Antonio Vivaldi (1678 - 1741)
Violin Concerto in D, R.234 "L'inquietudine"
1) 1. Allegro [2:00]
2) 2. Largo [1:27]
3) 3. Allegro [2:40]
Concerto in E minor for violin, strings & continuo, RV273
4) 1. Allegro non molto [5:01]
5) 2. Largo [3:51]
6) 3. Allegro [5:52]
7) Trio Sonata in D minor for 2 Violins and Continuo, Op.1/12 , RV 63 "La Follia" [9:22]
Concerto for Violin and Strings in E flat, Op.8/5 , RV 253 "La tempesta di mare"
8) 1. (Allegro e) presto [2:47]
9) 2. Largo [2:40]
10) 3. Presto [3:36]
Daniel Hope
Chamber Orchestra of Europe
Antonio Vivaldi (1678 - 1741), Anonymus
Andromeda liberata (Serenata Veneziana)
11) Aria 13: Sovvente il sole [9:07]
Anne Sofie von Otter
Daniel Hope
Chamber Orchestra of Europe
Antonio Vivaldi (1678 - 1741)
Concerto grosso in D minor , Op.3/11 , RV 565
12) 1. Allegro [0:43]
13) 2. Adagio spiccato - Allegro [3:11]
14) 3. Largo e spiccato [2:11]
15) 4. Allegro [2:21]
Daniel Hope
Chamber Orchestra of Europe
2008 Deutsche Grammophon GmbH, Hamburg
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