Please wait...

Hyperion Records

Click cover art to view larger version
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: 11 minutes 28 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)

Sonata in F major, RV20
composer
1708; Op 2 No 4

Andante  [3'19]
Corrente: Presto  [2'44]

Introduction  EnglishFrançaisDeutsch
Sonata IV contains many echoes of the sonata in the same key of F major (RV69) from Vivaldi’s Op 1, which in turn is beholden to the Gavotta of Corelli’s Op 5 No 10. This sonata contains fine examples of both ‘imitative’ and ‘figurational’ bass lines. It is a work in which Vivaldi shows especial subtlety in the phrasing of the violin part. He was a pioneer in the skilful manipulation of the bow for special effect. No aspect of the bowing for this sonata is remarkable in itself (that comes later in Vivaldi’s career!): what impresses, rather, is the variety of bowing directions for notes of the same value within the same movement, where other composers were still most often content to use a single, unvaried formula.

from notes by Michael Talbot © 2004

Other albums featuring this work
'Hyperion monthly sampler – August 2012' (HYP201208)
Hyperion monthly sampler – August 2012
HYP201208  Download-only monthly sampler   No longer available
Show: MP3 FLAC ALAC
   English   Français   Deutsch