His first published collection had achieved a measure of success, and he was already beginning to match the eminence of his father, Giovanni Battista, as a virtuoso on the violin.
The time was ripe to offer the public a new collection. In late the Venetian publisher Antonio Bortoli advertised, as in the press and about to appear, a collection of twelve sonatas for violin and cello by Vivaldi. Although less common than violin sonatas with simple continuo accompaniment, duo sonatas for violin and cello alone were not at all unusual for the period; good examples are Torelli's Op 4 and Dall'Abaco's Op 4 At this stage, Vivaldi had evidently not decided on the recipient of the dedication.
To find a suitable dedicatee was nearly always a prime task for a composer, since the 'recognition' that the former customarily conferred on him in exchange for the dedication—in cash or kind—was a significant factor in his economic calculations. A suitable person presented himself almost by accident. Ever the opportunist, Vivaldi managed to rush out the publication before the king's departure on 6 March , paying him the usual fulsome compliments in a hastily compiled dedication.
History does not record whether the 'recognition' was commensurate, and Vivaldi is not known to have come into contact with Frederik again. As published by Bortoli, the Op 2 sonatas were not quite what the earlier advertisement would have led purchasers to believe, since they are now billed on the title-page as being 'a violino e basso per il cembalo'.
The works have now become—at least, ostensibly—conventionally scored violin sonatas. Perhaps Vivaldi felt that it was too restrictive, and might harm sales or displease his royal patron , to retain the original scoring. Be this as it may, the sonatas are not really transformed in substance, only renamed. No other collection of Vivaldi sonatas or concertos, come to that has so active and so thematically important a bass part. Even if replaced or augmented in actual performance, the cello remains, in sound and technique, its ultimate inspiration.
In , the sonatas were republished, now elegantly engraved instead of being typeset a cumbersome process often producing unsightly results , by the Amsterdam firm of Estienne Roger. These alternative ways of highlighting the cello — through thematic integration with the violin or through thematic independence coupled with virtuosity — are deployed throughout the set. Perhaps the most attractive movement in this sonata is the final Corrente, which apes the traditional Giga in its extravagant, almost grotesque melodic leaps.
It is a composite movement in which rapid broken-chord figurations over pedal notes alternate with snatches of Adagio. This is followed by a short Presto featuring busy semiquavers on the cello. A Corrente, an Adagio beginning in recitative style and a Giga bring up the rear. Most probably, the Pastorale is an original composition. It sounds deliciously French and is easily the most memorable movement in the whole of Il pastor fido.
Should any listener anxious about authenticity question its inclusion, it can be argued that the technique of pasticcio is one of the most authentic and characteristic practices of the period.
A vocal quality is likewise evident in the third movement Adagio , which is introduced by the bass part alone, almost in the manner of a cantata aria.
This is one of the most powerful sonatas in the set: dark-hued and dynamic. It is a work in which Vivaldi shows especial subtlety in the phrasing of the violin part. He was a pioneer in the skilful manipulation of the bow for special effect.
Sonata V continues the pattern of alternating minor and major keys. Buy in Denmark Danacord Butik www. Buy in Finland Naxos Direct Finland www. Buy in Germany JPC www. Buy in Greece Opera Greece www. Buy in Italy Ducale Music www. Trio Sonata in D Major, Op. Trio Sonata in A Major, Op. Trio Sonata in C Major, Op. Trio Sonata in E Major, Op. Trio Sonata in B Minor, Op. Title, Name or Code. Website Release Date January February March April May June July August September October November December.
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This item is temporarily unavailable. Deselect All.Also available as part of a complete boxset of Vivaldi’s Opp.1–12 (BC), this recording can also stand alone as an outstanding example of Vivaldi’s superb writing for chamber ensemble. This CD presents the first recording on period instruments of Vivaldi’s complete Opus 5, consisting of 4 violin sonatas for violin solo and continuo.