![]() Indeed, the subtitle of this volume of violin concertos is “il teatro”, that title prompted by, as Cesare Fertonani puts it in his outstanding booklet notes, the intertwining “in a continuous and concrete fashion” of operatic and instrumental musical styles. Egged on by Chauvin, who is clearly a remarkably extrovert player, the orchestra bring these six concertos vividly to life through some gloriously exuberant and theatrical gestures. There is no mystery at all about Le Concert de la Loge following in the footsteps of their predecessors by producing playing which is both spectacular and flamboyant. Unlike the original orchestra, however, which, with 40 violins and 10 doubles basses, was reputedly the biggest orchestra in Europe, Chauvin’s group is small (16 players – including 9 violins and one double bass - are listed as having participated in this Vivaldi recording), but whether or not they follow the tradition of their predecessors in dressing for every concert in brilliant sky-blue dress coats and sporting ceremonial swords, remains a mystery. The aim was to revisit the memory of the famous Concert de la Loge Olympique which flourished in Paris during the 1780s, was renowned as the best orchestra in the world, and was much admired by Haydn who wrote his “Paris” Symphonies for them. #VIVALDI VIOLIN CONCERTI SERIES#Julien Chauvin is, apparently, the first French violinist to feature as soloist, while also appearing in the series for the first time, Le Concert de la Loge was founded in 2015 (by which time the Naïve Vivaldi Edition had already released over 50 volumes). Each volume features a different group of players, all of which are united by a passion for this music and a real sense of historical authority. It has also been something of a touch of genius for Naïve to get so many and varied soloists and ensembles to record these works. (Not to let Stravinsky fully off the hook when it comes to his dismissal of Vivaldi’s genius, he certainly did tell Robert Craft that “Vivaldi is greatly overrated-a dull fellow who could compose the same form so many times over”.) What emerges volume after volume in this magnificent series, is the boundless musical inspiration of a composer who, for all his popular appeal, remains largely undervalued by the musical public. ![]() In short, even if you have collected the seven previous discs in this series devoted to Vivaldi’s violin concertos, you will not have heard anything quite like what you find here. The slow movement of the G minor Concerto could almost pass for Handel, while the divine solo theme, so eloquently played by Julien Chauvin in the slow movement of the B flat Concerto (possibly composed as a tribute to the London-based Italian violinist Giovanni Stefano Carbonelli) seems almost as if it were in homage to Purcell. And, to nail that old stupid and ignorant remark firmly into its coffin, I don’t think I’ve heard this particular musical idea in any of Vivaldi’s other works. ![]() Take the vivacious idea sent diving through a descending sequential row after around 1:07 in the last movement of the D minor Concerto, and you will hear exactly what I mean. It is undeniable that, to produce so much and often in such a short space of time, Vivaldi did resort to time-saving technical devices (such as repetition and sequence) rather more often than any dullard composition teacher would permit from their students, but the material he subjected to repetition and seemingly infinite rows of sequence was of such freshness, originality and sheer genius, that it not only easily withstands such devices, but positively flourishes under the weight of them. There used to be a stupid and ignorant remark passed around the self-styled progressive musical community (variously attributed to Stravinsky and Dallapiccola) that Vivaldi composed the same concerto 500 times. I am afraid I have lost count of where we are in fulfilling that intention, but I really hope the series never comes to an end in my lifetime, for every new release brings remarkable and unmissable musical wonders, both in terms of musical invention and performance. ![]() The original intention was to record all the nearly 450 works contained in the Foà and Giordano collection housed in the National Library of Turin, many of which had never been recorded before or heard in public for two centuries. Naïve’s Vivaldi Edition, now in its 20 th year, has reached volume 63 and the eighth disc devoted to violin concertos. 2019, Galerie dorée, Banque de France, Paris. ![]() Le Concert de la Loge/Julien Chauvin (violin) Violin Concerto in B flat, “Il Carbonelli”, Rv366 Support us financially by purchasing this from ![]()
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