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Track(s) taken from CDH55404

Sonata in C major, RV1

composer
1708; Op 2 No 6

Elizabeth Wallfisch (violin), Malcolm Proud (harpsichord)
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: 8 minutes 26 seconds

Cover artwork: Leda and the Swan.
in the style of Pier Francesco Mola (1612-1666) / National Gallery, London
 
1
2
3
Giga: Allegro  [2'12]

Sonata VI opens with a Preludio that is the most spacious of any so far. Its striking inital motive begins with an ascending broken chord that continues by retracing its steps downwards, accelerating as it goes. Of such simple materials are Vivaldi’s best movements fashioned. Another telling yet simple effect to look out for is the syncopation in the phrase that ends both sections of the final Giga.

from notes by Michael Talbot © 2004

La Sonata VI s’ouvre sur le Preludio le plus ample jamais écrit. Son saisissant motif initial débute par un accord brisé ascendant qui se continue en rebroussant chemin, en accélérant. Les meilleurs mouvements vivaldiens sont nés de ce genre de matériaux simples. Autre effet éloquent en dépit de sa simplicité: la syncope de la phrase conclusive des deux sections de la Giga finale.

extrait des notes rédigées par Michael Talbot © 2004
Français: Hypérion

Sonata VI beginnt mit dem bisher längsten Preludio. Das außergewöhnliche Anfangsmotiv beginnt mit einem aufsteigenden, gebrochenen Akkord, der fortgeführt wird, indem die gleichen Schritte weiter unten wiederholt werden. Das Tempo wird dabei immer schneller. Die besten Sätze Vivaldis sind aus solch einfachem Material angefertigt. Ein weiterer simpler und doch wirkungsvoller Effekt ist die Synkopierung in der Phrase, mit der die beiden Teile der abschließenden Giga enden.

aus dem Begleittext von Michael Talbot © 2004
Deutsch: Viola Scheffel

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