That in itself is hardly a recommendation to any but the most ardent Vivaldi enthusiasts, but happily these concertos are richly endowed with the composer’s vintage hallmarks. 1, there is a high proportion of music seldom, if ever, previously recorded. In the case of the ‘Dresden Concerti’, promisingly labelled Vol. Two discs of concertos, played by the Accademia I Filarmonici under its leader-soloist Alberto Martini, go some way towards illustrating these virtues. The point is that Vivaldi, whose music is more identifiable than most, was nevertheless capable of an immense range of expressive nuances, of creating an evocative fantasy world both in his solos and tuttis, and was far more inventive in his technique than he is sometimes given credit for. Add to this 20th-century problem Dallapiccola’s observation – given wider currency by Stravinsky – that Vivaldi composed the same form many times over and Vivaldi’s reputation is all but done for. Indeed, lined up in front of me is a CD of The Four Seasons arranged for four guitars. Leonardo da Vinci has suffered from habitual Mona Lisa worship, Wordsworth from daffodils, Coleridge from pleasure domes and long grey beards, and Vivaldi from a severe seasonal affliction. The trouble with being famous for just one thing is that the general public is apt to forget you ever achieved much else. PERFORMER: Bruce Haynes (oboe)Baroque Orchestra/Frans Brüggen WORKS: Concertos, RV 90, 98, 101, 104, 435 & 442 Oboe Concerto in D minor Oboe Concerto in G
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