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Hyperion Records

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Leda and the Swan.
in the style of Pier Francesco Mola (1612-1666) / National Gallery, London
Track(s) taken from CDH55404
Recording details: November 2003
St Michael's Church, Highgate, London, United Kingdom
Produced by Martin Compton
Engineered by Julian Millard
Release date: May 2004
Total duration: 2 minutes 44 seconds

'This magnificent disc is complemented by an authoritative essay by Professor Michael Talbot. My only regret is that Hyperion has no plans to complete the set with a second volume. The quality of these performances beg for a prompt sequel' (Gramophone)

'Elizabeth Wallfisch is absolutely faultless on this excellent CD' (Early Music Review)

'Wallfisch could hardly ask for more attentively responsive support than she receives from Richard Tunnicliffe and Malcolm Proud, and she also has the inestimable advantage of a typically lucid and atmospheric Martin Compton/Julian Millard recording. Add to this an authoritative note by Vivaldi scholar Michael Talbot and Wallfisch sweeps the board in this repertoire' (International Record Review)

'The most striking feature of the violin writing is its intense lyricism and it is this that above all marks out Elizabeth Wallfisch's utterly musical and near-flawlessly executed performances … the remaining sonatas are impatiently awaited' (Goldberg)

'These three consummate players draw every nuance from Vivaldi's compositions to reveal what understated masterpieces they are' (Early Music Forum of Scotland News, Scotland)

Pastorale ad libitum

Introduction  EnglishFrançaisDeutsch
The Sonata II is completed here by an additional movement drawn from a different source: a Pastorale ad libitum by Nicolas Chédeville in which the bass part divides into two – an obbligato cello part and an ‘organo’ (continuo) part that over long stretches holds a bagpipe-like pedal note. There is, however, a genuine Vivaldian connection in that this Pastorale is the final movement of the fourth sonata of the collection entitled Il pastor fido, published in Paris under Vivaldi’s name around 1737. (Chédeville confessed publicly to his forgery in 1749, when the time came to renew the royal publishing privilege, originally taken out as a subterfuge in the name of his cousin, Jean-Noël Marchand.) This collection is, in fact, a skilful pastiche that unites elements taken from already published music by (or believed to be by) Vivaldi with music taken from other sources and original music by Chédeville himself. Most probably, the Pastorale is an original composition. It sounds deliciously French and is easily the most memorable movement in the whole of Il pastor fido. Should any listener anxious about authenticity question its inclusion, it can be argued that the technique of pasticcio is one of the most authentic and characteristic practices of the period. The great collection of the Dresden Hofkapelle, for instance, abounds in works that are ‘mix-and-match’ composites of concertos and sonatas by more than one master.

from notes by Michael Talbot © 2004

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