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Track(s) taken from CDA67553

Cello Concerto in A minor, RV420

probably circa 1711

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 34 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' (Classical Source)

'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)
RV420 begins strikingly with a solo accompanied only by continuo that precedes the first ritornello (this term denotes an orchestral refrain). Such openings, though relatively uncommon, remained an option for Vivaldi throughout his career; the best-known comparable instance is the cadenza-like opening of the D minor concerto Op 3 No 11 (RV565). Its slow movement, dominated by an orchestral theme in fiercely jagged rhythm, is in a miniature version of the ritornello form normally employed for the fast outer movements. A noteworthy feature of the tempestuous finale is that it has five, rather than the more usual four, ritornellos.

from notes by Michael Talbot © 2006

RV420 s’ouvre de manière saisissante sur un solo accompagné du seul continuo, avant le premier ritornello (i.e. un refrain orchestral). Ce type d’ouverture assez inhabituel, Vivaldi se l’autorisa tout au long de sa carrière, l’exemple comparable le mieux connu étant l’ouverture de type cadenza de son Concerto en ré mineur, op. 3 no 11 (RV565). Le mouvement lent, dominé par un thème orchestral au rythme férocement haché, est une version miniature de la forme ritornello normalement employée dans les mouvements extrêmes rapides. Fait remarquable, le tempétueux finale affiche cinq ritornellos, au lieu des quatre plus habituels.

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

RV420 beginnt mit einem ungewöhnlichen Solo, das nur vom Continuo begleitet wird, bevor das erste Ritornello (Refrain für Orchester) erklingt. Obwohl solche Eröffnungsgesten relativ selten waren, setzte Vivaldi sie doch immer wieder ein; das bekannteste vergleichbare Beispiel ist der kadenzartige Beginn des d-Moll Konzerts op. 3 Nr. 11 (RV565). Im langsamen Satz herrscht ein Orchesterthema mit sehr gezacktem Rhythmus vor, das eine stark verkleinerte Version eines Ritornellos ist, wie es normalerweise in den schnellen Außensätzen vorkommt. Eine bemerkenswerte Eigenschaft des stürmischen Finales ist, dass es fünf (anstelle der üblichen vier) Ritornelli hat.

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

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