![]() The astonishing one for the concerto in D Major, written for the Feast of the Tongue of St. ![]() But they are not the only concertos for which he provided cadenzas. William Zagorski's notes suggest that Vivaldi intended the three concertos RV 581-3, with their written-out cadenzas, for his own use. It may be hard to imagine Vivaldi himself sounding anything like Tenenbaum, but her readings do full justice to his virtuosity, and they don't diminish his stature as do so many supposedly more authentic recreations./p> Nevertheless, her enthusiasm, like that of Philharmonia Virtuosi, goes a long way toward smoothing over any stylistic incongruities. Her phrasing is brusque yet fiery, with a sort of Slavic passion that seems out of place in Vivaldi's quintessentially Venetian atmosphere. She sounds like neither the twangy, nasal period-instrument folk who are the usual champions of this repertoire (although Gidon Kremer recorded the Concerto RV 582 and Robert Gerle recorded the Concerto RV 583) nor the usual robustly singing modern-instrument folk who a generation ago had Vivaldi all to themselves. Tenenbaum is thoroughly individual in her approach. In performances by violinist Mela Tenenbaum and the Philharmonia Virtuosi under the direction of Richard Kapp, this testimonial is as exuberant as it is eloquent. The inclusion of all these concertos in a single program is therefore an especially striking testimonial to Vivaldi's productivity. ![]() The solo violin (occasionally scordatura), antiphonal string orchestras, organs, woodwinds, and harpsichords offer possibilities for numerous fresh textural combinations and recombinations that are unique even in Vivaldi's inventive oeuvre. Whether these, or any of the others included in the program, are anybody's actual favorites may be questionable, but they certainly represent Vivaldi as an inexhaustible compounder of instrumental sonorities. The third volume of the Philharmonia Virtuosi's collection of Vivaldi's favorites is framed by two of the composer's most spectacularly virtuosic concertos, written for the Feast of the Assumption. ![]()
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