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Track(s) taken from CDA67553

Concerto for two cellos in G minor, RV531

composer
probably 1720s

Jonathan Cohen (cello), Sarah McMahon (cello), The King's Consort, Robert King (conductor)
Recording details: April 2005
Cadogan Hall, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: July 2006
Total duration: 10 minutes 51 seconds

Cover artwork: Venice by Moonlight (detail) by Henry Pether (fl1828-1862)
Private Collection / © Christie's Images / Bridgeman Art Library, London
 
1
Allegro  [3'29]
2
Largo  [4'13]
3
Allegro  [3'09]

Reviews

'Cohen combines an easy and soulful tone with incisive precision and agility' (Gramophone)

'Cohen is an expressive player with a feeling for articulate phrasing who responds readily to the poetry of slow movements … the King's Consort under Robert King's direction from the harpsichord offers stylish and alert support throughout' (BBC Music Magazine)

'The playing … is first rate—phrases are beautifully wrought and each of the works is given a distinctive flavour. This is a recital to savour!' (Early Music Review)

'If there is any recording that might persuade our editor that there is some virtue to early music performance practice, this might be it. I find myself unusually involved by this release, in several respects, and I recommend it to your attention … the cello seems to have inspired him to write some of his deepest music—and I am not speaking registrally. This is a good selection from his 28 concertos for the instrument, performed with satisfying intensity' (American Record Guide)

'Cohen is an intelligent cellist … and in the slow movements he's a dream, fashioning an Adagio of deep, soulful beauty out of the simple materials provided in the early RV416. The uncomplicated orchestral playing provides the perfect backdrop for Cohen's graceful virtuosity, of which I'd certainly like to hear more' (International Record Review)

'Very delectable' (The Times)

'Cohen finds constant variety and individuality in these works' (The Strad)

'Lovely, extensive, crisp, melodic lines from The King's Consort strings … this album makes a sterling debut in my book' (Audiophile Audition, USA)

'Jonathan Cohen and Robert King make an excellent team, and the interplay with The King's Consort is often incisive and exciting. It's a fine disc. A second volume of Vivaldi's cello concertos would be most welcome' (ClassicalSource.com)

'Jonathan Cohen's performances are nothing short of phenomenal; his dazzling agility and artistic insight truly make the cello sing … a disc to relish and enjoy in excellent sound and exemplary annotations' (Classical.net)
Vivaldi left only one ‘double’ concerto for cellos: RV531 in G minor. In all probability, this was composed for the Pietà during the 1720s. Its electrifying, cadenza-like opening leaves one in no doubt of its highly charged emotional content. Its slow movement, styled as that of a trio sonata, breathes an almost autobiographical sadness. Its frenetic finale, see-sawing in rhythm and tonality alike, keeps one on the edge of one’s seat. This is a concerto to single out among the hundreds that Vivaldi wrote.

from notes by Michael Talbot © 2006

Vivaldi laissa un seul «double» concerto pour violoncelles: RV531 en sol mineur qui fut, selon toute vraisemblance, composé pour la Pietà dans les années 1720. Son ouverture électrisante, de type cadenza, ne laisse aucun doute quant à son contenu émotionnel puissamment chargé. Son mouvement lent, au style de sonate en trio, exhale une tristesse quasi autobiographique tandis que son finale frénétique, au rythme et à la tonalité oscillants, nous maintient sur des charbons ardents. Voilà un concerto à mettre en avant parmi les centaines composés par Vivaldi.

extrait des notes rédigées par Michael Talbot © 2006
Français: Hypérion

Vivaldi hat nur ein „Doppelkonzert“ für Celli hinterlassen: RV531 in g-Moll. Aller Wahrscheinlichkeit nach entstand das Werk in den 1720er Jahren für die Pietà. Der elektrisierende, kadenzartige Anfang verdeutlicht sofort den hohen Emotionsgehalt des Konzerts. Der langsame Satz ist wie der einer Triosonate angelegt und strömt eine fast autobiographische Traurigkeit aus. Das frenetische Finale sorgt mit seinem hin- und herschwankenden Rhythmus und pendelnder Tonalität für besondere Spannung. Dies ist ein Konzert, dass von den mehreren hundert Solokonzerten Vivaldis klar hervortritt.

aus dem Begleittext von Michael Talbot © 2006
Deutsch: Viola Scheffel

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