[nataliy]

Antonio Vivaldi (1678-1741)
Concerti da camera
Musica Antiqua Köln - Reinhard Goebel

Жанр: (Classical / Baroque)
Носитель: LP
Год выпуска: 1981
Лейбл: Deutsche Grammophon (Archiv)
Страна-производитель: W.Germany
Аудио кодек: APE
Тип рипа: image+.cue
Формат записи (раздачи): 16/44,1
Продолжительность: 48:33

Источник оцифровки: автором раздачи
Код класса состояния винила: Mint
Устройство воспроизведения: Kenwood KP-1100
Головка звукоснимателя: Ortofon 2M Red
Предварительный усилитель/АЦП: Pro-Ject Phono Box II USB
Программа-оцифровщик: CEP 2.0
Обработка: CEP 2.0 (Click/Pop Eliminator, Fade in/Fade Out)

Gudrun Heyens Blockflöte: nach Debey, Utrecht ca. 1700 (Sdummel, Köln 1977)
Wilbert Hazelzet Flauto traverso: August Grenser, Dresden, ca. 1750
Reinhard Goebel Violine: »sub disciplina Nicolai Amati«, Cremona, ca. 1670
Hajo Bäß Violine: Claude Pierray, Paris, ca. 1710
Jaap ter Linden Violoncello: Giovanni Battista Guadagnini, Turin 1749
Jonathan Cable Violone: Österreich, ca. 1720
Henk Bouman Cembalo: nach Steffanini, 1699 (Willem Kroesbergen, Utrecht 1980)

Concerto a-moll, RV 108
1. Allegro
2. Largo
3. Allegro
(Flauto, Violino I/II; Basso continuo: Violoncello, Violone, Cembalo)
Ed.: Schott, ANT 131 (H.Ruf). Mainz 1964

Concerto D-dur, RV 84
4. Allegro
5. Andante
6. Allegro
(Flauto traverso, Violino; Basso continuo: Violoncello, Cembalo)
Ed.: Opera omnia, vol.355 (Malipiero). Milano, Ricordi 1962

Concerto G-dur, RV 102
7. Allegro
8. Adagio
9. Vivace
10. Arietta
11. Minuetto
(Flauto traverso, Violino I/II; Basso continuo: Violoncello, Violone, Cembalo)
Source: unveröffentlichtes Manuskript (unpublished manuscript): Sammlung Wenster,
Universitets-biblioteket Lund. Score: Reinhard Goebel

Concerto D-dur, RV 89
12. Allegro assai
13. Cantabile — Andante e poco vivace
14. Allegro
(Flauto traverso, Violino I/II; Basso continuo: Violoncello, Cembalo)
Source: unveröffentlichtes Manuskript: Stockholm, Kungliga Musikaliska Akademiens Bibliotek. Score: Reinhard Goebel

15. Sonata d-moll »La Follia«, RV 63
(Violino I/II; Basso continuo: Violoncello, Violone, Cembalo)
Ed.: Bärenreiter, BA 351 (Upmeyer). Kassel s.d.

Recording: Hamburg-Harburg, Friedrich-Ebert-Halle, 2.-4. 12. 1980

Рейнхард Гёбель (Reinhard Goebel) (р. 31.7.1952, Зиген, земля Северный Рейн — Вестфалия), немецкий скрипач и дирижёр, представитель движения аутентичного исполнительства.Учился игре на скрипке в Кёльнской консерватории у Франца-Йозефа Майера, стажировался в Амстердаме у скрипачей Эдуарда Мелькуса и Марии Леонхардт. Изучал историю музыки в Кёльнском университете. В 1973 основал в Кёльне ансамбль Musica antiqua Köln, главным образом, для аутентичного исполнения инструментальной музыки барокко. Международное признание коллективу принесло выступление на международном баховском фестивале в Лондоне, в 1978. До 2005 активно гастролировал и записывался с этим ансамблем, а также (с перерывами) как солист-скрипач (Официально ансамбль Musica antiqua Köln был распущен в 2007 году.). Исполнения Гёбеля и его коллектива отличаются чрезвычайной живостью, более быстрыми, чем это принято в академических традициях, темпами, точностью интонации (несмотря на трудности исполнительской техники на натуральных духовых инструментах). Преподавал в зальцбургском Моцартеуме, на курсах Оркестровой академии Берлинского филармонического оркестра. Ныне гастролирует, главным образом, как приглашённый дирижёр в Европе; в основе репертуара — немецкая музыка барокко и венская классика XVIII века. Занимается также редактированием и изданием мало известной барочной музыки (в том числе ряда сочинений И. Д. Хайнихена).

Среди многих аудиозаписей: «Бранденбургские концерты» и другая оркестровая музыка И. С. Баха, Г. Ф. Телемана (в том числе полный комплект «Застольной музыки» [Tafelmusik]), сыновей Баха, Ф. Куперена, Ж.-Ф. Ребеля, А. Вивальди, сонаты-мистерии для скрипки и цифрованного баса И. Бибера, вся скрипичная музыка Баха.
Compared with his solo concertos with orchestra, Vivaldi's works for more than one solo instrument and basso continuo constitute a relatively small part of his output. The catalogue of Vivaldi's works published by Peter Ryom in 1974 lists 39 such compositions-23 of them are found in autograph manuscript in the Biblioteca Nazionale, Turin, and thus of indisputable authenticity.

A feature common to all the "chamber concertos" by Vivaldi is the absence of a viola or any other alto part. On account of their scoring for two to four solo soprano-range parts and basso continuo (reinforced in several works by a bassoon) they are also called sonatas or trios. In the first movements of these concertos the form of the solo concerto movement with its four tutti ritornelli and three solo episodes is standard - this plan tends to entail one solo instrument assuming greater or lesser prominence. This formal scheme is also adhered to in the second movements of the concertos RV 84 and RV 108, and only in the finales do all the solo instruments possess equal importance in the manner of chamber music.

It is quite legitimate to doubt the authenticity of the Concerto RV 102. Although no general principles can be laid down regarding the sequence of keys in the three movements of a Vivaldi chamber concerto (in the Concerto RV 84 they are D-D-D, in RV 89 D - В minor -D, and in RV 108 A minor-A minor - A minor), the stringing together of five movements in the same key, recalling the suite, suggests that the work can hardly be Italian in origin. It is true that in the first movement the use of a violin bass as accompaniment to the solo part and the slowly moving harmonies underlying sonorous broken chords are typical of Vivaldi, but both the unusual number of only three ritornelli in the first movement and the form and phrase structure of the remaining four movements tend to suggest a French (?) admirer of the "red priest" as the author of this work. The first movement of the Concerto RV 89 is exceptionally compact in its substance, with the customary formal structure hardly being discernible. The episodes separating the ritornello passages are neither marked out by changes of tone-colour nor differentiated thematically. The rhythmic flow of the unremitting basso continuo and the tonal dominance of the virtuoso violin parts give the movement a restlessly energetic character which also informs the last movement, where however the technically demanding passages for the first violin, frequently breaking away from the ensemble of voices, are felt as points of repose. Only in the middle movement does the flute come into its own as a solo instrument. Ryom casts doubt on the authenticity of this composition, and indeed the unusual heading of the second movement and the over-abundant indications of phrasing are almost certainly not from Vivaldi's hand. A certain restlessness in the outer movements, seemingly overflowing with clearly formulated ideas and motifs, the parallel fifths and octaves, and the staggered arpeggios in the violin parts, which owing to the rapid tempo have a purely colouristic function, are nevertheless all typical of Vivaldi's chamber concertos.

The relatively small number of 50 or so unconfirmed, doubtful and misattributed works in the catalogue of Vivaldi's output can be explained by the fact that his fame declined drastically even during his own lifetime. Just ten years after his death his works were already being dismissed as mere amusements for children, "and not even suited for that if it be desired that they should acquire a discerning taste in music". In 1703, shortly after being ordained as a priest, Vivaldi was employed as Maestro di Violino at the Ospedale della Pieta and later, in all probability, as cello teacher as well. From 1715 onwards he also directed the orchestra at the Pieta, which was made up entirely of young girls, and had to contribute two concertos every month with two more for every church feast day. This ensemble - in which young orphans played the whole range of instruments, from piccolo to bassoon, violin to double-bass - was one of Venice's major attractions, and the proceeds from its public concerts were vitally important in maintaining the orphanage. When after almost 30 years there Vivaldi gave up his post, he had outlived his success: it was only with great difficulty that the governors could be persuaded to buy from him the scores of the works written for the Ospedale - after they had first knocked down the price per work from four ducats to one.

The 84 concertos and 36 sonatas published between 1711 and 1729 by Le Cene and Roger in Amsterdam also show that Vivaldi's fame was less than timeless. Only after the huge success of Lestro armonico op. 3, the collection from which Bach drew the originals for his harpsichord and organ transcriptions, did Roger decide to print a new edition of Vivaldi's opus 1 in 1712-13; it had first been published in Venice in 1705. The last sonata in this collection of 12 Suonate da Camera a 3 consists of а series of variations on the "Follia" bass. The chiefly motoric and virtuoso character of the 19 variations is relieved by three Adagio variations, and the continuo part is also involved in exploiting the possibilities for rhythmic figuration inherent in the unchanging progression of harmonics. Exchange of voices between the two violins - in the 17th century a favourite means of emphasizing the equal rank of the upper parts - is found in only three variations. In the 16th century the Spanish melody "La Follia" had found its way into Italian instrumental music via Naples, and like the romanescat ciaccona, monica and passacaglia had inspired many bravura sets of variations. Corelli had concluded his Violin Sonatas op. 5, which appeared about 1700 and had become widely known, with a set of variations on this theme. Vivaldi's decision to do likewise in his own first work may be seen as a mark of homage to the older composer.

Reinhard Goebel
Translation: Alan Newcombe