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Antonio Vivaldi (1678 - 1741)
Sonate a tre 'La Follia', Sonate a due violini
Label: Harmonia Mundi, HMG 501366
Year: 2008
Performers:
Ensemble 415
Kathi Gohl - cello
Chiara Banchini - volin
Veronique Mejean - violin
Jesper Christensen - harpsichord
Among various instrumental works composed by Vivaldi, there are twenty-seven trio sonatas, most of them written for two violins - either with or without continuo. Twelve of these sonatas were published in 1705 by the Venetian music publisher, Giuseppe Sala in a collection entitled Suonate da Camera a Tre, due Violini, e Violone o Cembalo. This Opus 1 collection contains the earliest known sonatas by Vivaldi. As indicated on the title-page of the collection, they could be played by two violins and violoncello (originally a violone) or by two violins and harpsichord.
Here is an attractive, thoughtfully prepared programme of duo and trio sonatas by Vivaldi. Chiara Banchini, with a nucleus of her Ensemble 415, plays two trios from Vivaldi's first published collection, Op. 1 and four sonatas with an optional bass line which remain unpublished to the present day. The trios from Op. 1 are the Eighth Sonata in D minor (RV64), and the last and best known of the set, La follia, also in D minor (RV63); only this last-mentioned piece is absent from the two separately available discs which the Purcell Quartet recently recorded for Chandos. But whereas the Purcell Quartet drop the optional continuo in only two of the sonatas so designated (RV70 and 77) Banchini excludes it from all four pieces; so there is less duplication than might at first appear.
There is a pleasingly natural, unaffected aspect to Banchini's musical approach; no shortage of affecting gestures here but a welcome absence of excessive deliberation and exaggerated mannerism. Banchini and her partner Veronique Mejean bring plenty of contrast in tempo and colour to La follia and I find much to admire and excite the senses in their performance. And the attractive Sonata No. 8 of the set, laid out like a suite, comes over well, too.
The four sonatas for two violins make rewarding listening. The Sonata in G major (RV71) is a particularly expressive one, which Vivaldi seems to have reworked from the Concerto in G major for two violins and strings (RV516). It has nothing, however, to do with the composer's Concerto in A major, (Op. 9 No. 2) as is suggested in the insert-note. Banchini and Mejean play this and the other three sonatas with assurance and a good ear for nuances of tuning and expression. Even so, I sometimes found myself missing the exuberance of Catherine Mackintosh and Elizabeth Wallfisch on the Chandos discs.
Each partnership has its own distinctive musical rapport, though where Mackintosh and Wallfisch score in esprit Banchini and Mejean restore the balance with what strikes my ears as more careful preparation and closer attention to detail. In short, there is little to choose between the two. Banchini takes us deeper into the violinist's world with concentrated performances of these Sonatas senza basso, while the other team achieves marginally greater spontaneity. The new issue can be warmly commended for repertory, playing and recording alike.
Tracklist:
Sonata op.1 n°8 RV 64
en re mineur / D minor / d-moll
2 Preludio, largo 5'22
3 Corrente, allegro 1'59
4 Grave 2'02
5 Giga, allegro 2'12
Sonata RV 68 en Fa majeur
F major / F-dur
6 Allegro 3'52
7 Larghetto 2'03
8 Allegro molto 3'28
Sonata RV 71 en Sol majeur
G major / G-dur
9 Allegro 4'09
10 Larghetto 3'38
11 Allegro 3'57
Sonata RV 77 en Si bemol majeur
B flat major / B-dur
12 Allegro 4'59
13 Andante 5'26
14 Allegro 3'18
Sonata RV 70 en Fa majeur
F major / F-dur
15 Allegro 2'59
16 Andante 4'23
17 Allegro 3'52
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