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Track(s) taken from CDA67553

Cello Concerto in A minor, RV418


Jonathan Cohen (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 42 seconds

Cover artwork: Venice by Moonlight (detail) by Henry Pether (fl1828-1862)
Private Collection / © Christie's Images / Bridgeman Art Library, London


'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)
RV418 in A minor does not appear to have been destined for the Pietà. One infers this from the fact that bibliographical features such as paper type link it to three other cello concertos: RV410, 414 and 419. Works written for the figlie di coro of the Pietà were normally composed singly. When we encounter groups of similar works in autograph manuscript with bibliographical connections, the suspicion always arises that they originally formed a commissioned group. Connoisseurs of Vivaldi’s cello sonatas will recognize the similarity of the opening theme of the first movement of RV418 to that of the sonata RV43, which dates from the mid-1720s. The slow movement in this concerto belongs to one of Vivaldi’s favourite types: the ‘framed’ solo. The ritornellos at either end of this movement are richly scored and attractive in their own right, but attention focuses on the extended solo separating them. Note, finally, in the outer movements of this concerto the sophisticated use of the orchestra in accompaniment to the solo.

from notes by Michael Talbot © 2006

RV418, en la mineur ne semble pas avoir été destiné à la Pietà, comme nous le laissent supposer plusieurs caractéristiques bibliographiques (tel le type de papier) le rattachant à trois autres concertos pour violoncelle: RV410, 414 et 419. Les œuvres dévolues aux figlie di coro de la Pietà étaient habituellement composées à part. Quand, dans un manuscrit autographe, des groupes de pièces similaires présentent des connexions bibliographiques, on subodore toujours qu’ils formaient, à l’origine, une commande. Les connaisseurs des sonates pour violoncelle de Vivaldi reconnaîtront la similitude entre les thèmes d’ouverture du premier mouvement de RV418 et de la sonate RV43, qui date des années 1725. Le mouvement lent de ce concerto appartient à l’un des types préférés de Vivaldi: le solo «encadré». Les ritornellos placés à chaque extrémité de ce mouvement offrent une écriture riche et séduisante, mais l’attention se focalise sur le long solo qui les sépare. Notez enfin, dans les mouvements extrêmes, l’usage sophistiqué de l’orchestre en accompagnement du solo.

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

RV418 in a-Moll scheint nicht für die Pietà komponiert worden zu sein. Das lässt sich daraus schließen, dass es aufgrund seiner bibliographischen Eigenschaften (wie z.B. der Papiertyp) mit drei anderen Cellokonzerten in Verbindung gebracht wird: RV410, 414 und 419. Werke, die für die figlie di coro der Pietà entstanden, wurden normalerweise einzeln komponiert. Bei Gruppen von ähnlichen Werken, die im autographen Manuskript und mit bibliographischen Ähnlichkeiten vorliegen, wird zumeist angenommen, dass es sich um eine ursprünglich in Auftrag gegebene Werkgruppe handelt. Den Kennern von Vivaldis Cellosonaten wird die Ähnlichkeit des Anfangsthemas des ersten Satzes von RV418 mit dem der Sonate RV43 auffallen, die aus der Mitte der 1720er Jahre stammt. Der langsame Satz des Konzerts gehört zu einem der Lieblingstypen Vivaldis—das „eingerahmte“ Solo. Die Ritornelli am Anfang und Ende des Satzes sind üppig besetzt und als solche attraktiv, doch wird die Aufmerksamkeit auf das ausgedehnte Solo dazwischen gelenkt. Außerdem hervorzuheben ist der anspruchsvolle Einsatz des Orchesters in den Außensätzen des Konzerts als Begleitung für den Solisten.

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

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