1. Concerto V in Do Maggiore RV 114 0:00 2. Concerto III in Do Minore RV 119 5:36 3. Concerto X in Re Maggiore RV 121 10:20 4. Concerto IV in Fa Maggiore RV 136 15:20 5. Concerto I in Sol Minore RV 157 19:50 6. Concerto IX in Si Bemolle Maggiore RV 164 25:25 7. Concerto XI in Sol Maggiore RV 150 29:15 8. Concerto VIII In Re Minore Rv 127 33:16 9. Concerto VII in La Maggiore RV 160 36:49 10. Concerto VI in Sol Minore RV 154 41:20 11. Concerto II in Mi Minore RV 133 47:10 12. Concerto XII in La Maggiore RV 159 53:00
Three Movements from Petrushka. As the title suggests, music lifted from Stravinsky's ballet, Petrushka. Although the composer was an accomplished pianist, his skill level was not (by his own admission) up to playing this piece.
God is the mysterious veil under which we hide our ignorance of the cause. - Léo Errera
It's the final allegro from the 2nd in a set of 6 flute concertos he published when the transverse flute was hitting its stride. More than likely one of the many recorder pieces he adapted for the new instrument.
Vivaldi - flute concerto in g, op10 no2 "La Notte" ("The Night"), 6th movement. François Lazarevitch, Les Musiciens de Saint-Julien.
I've always loved this piece, but more the idea of it than any specific rendition. I think I've finally found one that's convincing, though the slow movement's a little rushed. Organ instead of harpsichord in the fast movements was a nice touch.
Vivaldi - cto for 2 cellos in g, RV 531. Ophélie Gaillard, Atsushi Sakai, w/Pulcinella.
This riveting performance is unique: a blend of variations on “La Folia” by 3 different composers: Corelli, Scarlatti (A.), and Marais. And I’ve never seen/heard viola da gamba playing like this before. Then, in typing this post, it dawned on me: these are the 3 instruments most associated with the respective composers: violin (Corelli), harpsichord (Scarlatti), viola da gamba (Marais). Double
I can only assume they’re shifting through time and place, cycling between soloist/accompanist role accordingly. It’s so meta.
Variations on “La Folia”. Ensemble Musica Narrans.
So, yes, the nickname ("La Notte") made me think the other performance was an adaptation from the published flute concerto. But it turns out the original recorder piece was also nicknamed "La Notte" (I should've remembered that). Anyway, an excuse to post another sexy rendition of it:
Vivaldi - chamber cto in g, RV 104, 6th movt. 4 Times Baroque.
An interesting parallel... here's another chamber piece w/recorder, in the same key (note the adjacent index number, RV 103) and an adaptation that went in a different direction. I never see this connection made - but it's obvious when you hear it. (I don't know which came first, but usually it's the smaller chamber piece.)
Vivaldi - chamber concerto in g, RV 103, 1st movt. Marion Verbruggen (recorder), Paul Goodwin (oboe), Dennis Godburn (bassoon).
Vivaldi - concerto for strings & basso continuo in g, RV 156, 1st movt. The English Concert.
Featured in a fundraiser for the group, which is trying to keep their players afloat...
Händel - "Ombra mai fù", from Xerxes. Christopher Lowrey, Voices of Music.
Ombra mai fù di vegetabile, cara ed amabile, soave più.
Never was the shade from any plant more dear, more lovely, or so sweet.
Iirc, Xerxes sings this to his favorite tree in his garden, in a moment of loneliness & anxiety over a heavy decision he has to make. Rather poignant imagery, in the context.
Dell'aura al sussurrar, Dell'onda al mormorar, Cantiamo con piacer Fra il dolce, e bel goder Della nuova stagion L'onore, e il vanto. E sia di primavera D'ogni gioir foriera Il nostro canto.
Senti quell'usignolo Su la nascente fronda, Come il piacer l'innonda E qual d'amor favella. Spiegando lieto il volo Ei cerca fido il nido Al bel piacer ch'attende.
E in noi di primavera D'amor lieta foriera I voti accende.
Ride il colle, e ride il prato Fra viole, e gigli, e rose, E amorose L'aure spirano d'intorno. La fedele rondinella Lieta anch'ella Per goder fa a noi ritorno.
Quest'è la bella Stagion novella, Che dando vita All'erbe, ai fiori Ai nostri cuori Spiega l'amor. Ella gradita Di nevi, e brine Dilegua al fine L'aspro rigor.