No. 186 of the ongoing ITYWLTMT series of audio montages can be found in our archives at https://archive.org/details/pcast186 |
=====================================================================
This week’s
podcast complies to our “Double, Double” formula in more ways than one – it is
the first of two podcasts dedicated to the concertos of Antonio Vivaldi,
and all the concertos in this two-part series are double concertos, or
concertos that require two soloists.
This short
two-part series also launches a longer arc, spanning most of the next 10 weeks,
where we will explore several aspects (and different flavors) of concertos.
Two of this
week’s selections come from a large collection of twelve concertos for one, two
and four violins written in 1711 by the Red Priest known as “L’Estro Armonico”
(translates as Harmonic Inspiration). The L’Estro concerti are often
called concerti grossi in which the musical material is passed between a
small group of soloists (the concertino) and full orchestra (the ripieno
or concerto grosso).
The
concerto, like many forms of classical music, has undergone significant
transformation over 500 years of Western Classical Music evolution. Concerti
grossi, which were an extremely popular form in the baroque era, has given way
to “solo concertos” in the late Baroque and Classical eras. In the solo
concerto formula, we are more likely to encounter this “friendly face-off”
between soloist and orchestra which we have come to associate with concerti.
What makes L’Estro special is that even in the case of the concerti with many
soloists, the concertino group does have their moments where they have this
friendly rivalry with the larger ensemble.
This trait
extends to the vast majority of Vivaldi’s double concertos, whether they feature
two similar instruments (thus, playing in the same range), or with two
different instruments. Our podcast, for example, features two concertos for
cello and violin (thus, two instruments playing at different ranges), that play
against each other, and against the orchestra, generally to great effect.
Noteworthy
in our podcast are two of Vivaldi’s better-known double concertos, for two
mandolins and two trumpets, as well as the usual set for stringed soloists. I
also added a unique transcription of one of the L’Estro concertos for two horn
soloists.
I think you will love this music too!
No comments:
Post a Comment