Out on November 15th, 2019
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Antonio Vivaldi (1678-1741)
Concerti per violino VII “Per il castello”
Concerto RV 389 in B minor / Allegro poco, Largo, Allegro
Concerto RV 257 in E-flat major / Andante molto e quasi allegro, Adagio, Presto
Concerto RV371 in B-flat major / Allegro ma poco, Larghetto, Allegro
Concerto RV 273 in E minor / Allegro non molto, Largo, Allegro
Concerto RV 367 in B-flat major / Allegro ma poco poco, Andante ma poco, Allegro
Concerto RV 390 in B minor / Andante molto – Allegro non molto, Larghetto, Allegro
Alessandro Tampieri – solo violin
Ottavio Dantone – conductor and harpsichord
Maria Grokhotova, Paolo Zinzani, Sara Meloni – violins I
Ana Liz Ojeda, Mauro Massa, Heriberto Delgado – violins II
Diego Mecca, Alice Bisanti – LTOS
Emmanuel Jacques, Giulio Padoin – cellos
Giovanni Valgimigli – double bass
Tiziano Bagnati – archlute
Vivaldi Edition vol.62 – Label: Naïve Classique
Born in Ravenna, Alessandro Tampieri began his musical studies in his home town and became a member of Accademia Bizantina at the age of fifteen. During his training he devoted himself with equal interest to the violin and the viola, working with such noted composers as Luciano Berio and Azio Corghi and acquiring significant experience as a violist in the Orchestra of the Teatro alla Scala in Milan.
Alessandro Tampieri had been interested in the exciting subject of historically informed musical performance based on scholarly criteria since his first years of study, and soon began to appear with a number of early music ensembles, including such groups as Il Giardino Armonico and L’Arpeggiata and artists like Enrico Onofri, Philippe Jaroussky and Vittorio Ghielmi.
Since 2011 he has been first violin and concertmaster of Accademia Bizantina, collaborating in the musical life of the ensemble with its artistic director Ottavio Dantone.
His recent recording with Accademia Bizantina and Ottavio Dantone of Vivaldi’s concertos for viola d’amore and strings, also released on Naïve, received a very warm welcome from both the specialised critics and the public.
Concertos for count Collalto
In May 1740 Antonio Vivaldi left his home town, Venice, to move to Vienna. By now a man od rather advanced age for the time and in poor health, Vivaldi died in Vienna a year later, on July 28th, 1741. The last document attesting to Vivaldi’s presence in Vienna dates back to one month before his death: it is a receipt signed by him on June 28th 1741 for the sum of 12 Hungarian ducats, for the supply of music to Count Vinciguerra Tommaso Collalto, a member of an ancient Venetian noble family.
It is probable that the compositions in question were the sinfonia and the fifteen concertos recorded in an inventory of the Collalto music collection, now held in a museum in Brno. Unfortunately, more than half (eight, to be precise) of the violin concertos in the collection that belonged to Count Collalto have been lost. The loss is significant because it deprives us of a repertory of violin works that, judging by the scores that have come down to us, must have been of very high quality, as it is often the case with Vivaldi’s late compositions.
Of this repertory, the album Concerti per violino VII “Per il castello” includes concertos RV 273, RV 367, RV 371 and RV 390, all known to us thanks to the autograph sources preserved in Turin, together with concertos RV 257 e RV 389, undoubtedly composed after the mid-1720s.
Vivaldi’s output of violin concertos is an authentic treasure, of which the works included the collection published in his lifetime offer only a very partial glimpse. The concertos of the late period are characterised by extremely refined solo writing, often to the point of preciosity in the diversity of figuration, the variety of articulation and phrasing, the richness of ornamentation, the sumptuous inventiveness of a lyrical, cantabile virtuosity systematically marked by galant inflections.