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Vivaldi L’Amore per Elvira

La Serenissima

Vivaldi L’Amore per Elvira

CKD 281 (Linn Records)
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Compact Disc

$22.00

Studio Master

FLAC 24bit 88.2kHz 1,335.3MB $24.00

Studio Master

ALAC 24bit 88.2kHz 1,354.0MB $24.00

CD Quality

FLAC 16bit 44.1kHz 389.5MB $13.00

CD Quality

ALAC 16bit 44.1kHz 397.3MB $13.00

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MP3 320k 44.1kHz 174.4MB $11.00
Prices shown in US Dollars



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Tracks: Listen and Download

Format
Track Time Listen
1
Sonata ‘Graz’ (No.3) for violin & continuo in D, RV 11 Largo

Sonata ‘Graz’ (No.3) for violin & continuo in D, RV 11 Largo

Composer Antonio Vivaldi
Soloist Adrian Chandler - violin
Arranger reconstruction: Adrian Chandler
3:29 Play $1.70
2
Sonata ‘Graz’ (No.3) for violin & continuo in D, RV 11 Allegro

Sonata ‘Graz’ (No.3) for violin & continuo in D, RV 11 Allegro

Composer Antonio Vivaldi
Soloist Adrian Chandler - violin
Arranger reconstruction: Adrian Chandler
3:29 Play $1.70
3
Sonata ‘Graz’ (No.3) for violin & continuo in D, RV 11 Largo

Sonata ‘Graz’ (No.3) for violin & continuo in D, RV 11 Largo

Composer Antonio Vivaldi
Soloist Adrian Chandler - violin
Arranger reconstruction: Adrian Chandler
2:32 Play $1.70
4
Sonata ‘Graz’ (No.3) for violin & continuo in D, RV 11 Allegro

Sonata ‘Graz’ (No.3) for violin & continuo in D, RV 11 Allegro

Composer Antonio Vivaldi
Soloist Adrian Chandler - violin
Arranger reconstruction: Adrian Chandler
2:58 Play $1.70
5
Cantata Tremori al braccio, RV 799 Recitativo: Tremori al braccio

Cantata Tremori al braccio, RV 799 Recitativo: Tremori al braccio

Composer Antonio Vivaldi
Soloist Mhairi Lawson - vocals
1:36 Play $1.70
6
Cantata Tremori al braccio, RV 799 Aria – Andante: Quando chiami dolce, e cara

Cantata Tremori al braccio, RV 799 Aria – Andante: Quando chiami dolce, e cara

Composer Antonio Vivaldi
Soloist Mhairi Lawson - vocals
6:25 Play $3.40
7
Cantata Tremori al braccio, RV 799 Recitativo: Ah nò, mia cara Elvira

Cantata Tremori al braccio, RV 799 Recitativo: Ah nò, mia cara Elvira

Composer Antonio Vivaldi
Soloist Mhairi Lawson - vocals
0:47 Play $1.70
8
Cantata Tremori al braccio, RV 799 Aria – Largo: Quello che senti, ò bella

Cantata Tremori al braccio, RV 799 Aria – Largo: Quello che senti, ò bella

Composer Antonio Vivaldi
Soloist Mhairi Lawson - vocals
5:40 Play $3.40
9
Sonata for violin, cello & continuo in C minor, RV 83 Allegro

Sonata for violin, cello & continuo in C minor, RV 83 Allegro

Composer Antonio Vivaldi
Soloist Adrian Chandler - violin
2:30 Play $1.70
10
Sonata for violin, cello & continuo in C minor, RV 83 Largo

Sonata for violin, cello & continuo in C minor, RV 83 Largo

Composer Antonio Vivaldi
Soloist Adrian Chandler - violin
3:52 Play $1.70
11
Sonata for violin, cello & continuo in C minor, RV 83 Allegro

Sonata for violin, cello & continuo in C minor, RV 83 Allegro

Composer Antonio Vivaldi
Soloist Adrian Chandler - violin
2:37 Play $1.70
12
Cantata Elvira, anima mia for soprano & continuo, RV 654 Recitativo: Elvira, anima mia

Cantata Elvira, anima mia for soprano & continuo, RV 654 Recitativo: Elvira, anima mia

Composer Antonio Vivaldi
Soloist Mhairi Lawson - vocals
1:25 Play $1.70
13
Cantata Elvira, anima mia for soprano & continuo, RV 654 Aria – Larghetto: Partirò, ma vedrai quanto

Cantata Elvira, anima mia for soprano & continuo, RV 654 Aria – Larghetto: Partirò, ma vedrai quanto

Composer Antonio Vivaldi
Soloist Mhairi Lawson - vocals
5:15 Play $3.40
14
Cantata Elvira, anima mia for soprano & continuo, RV 654 Recitativo: Passo al rogo fatal

Cantata Elvira, anima mia for soprano & continuo, RV 654 Recitativo: Passo al rogo fatal

Composer Antonio Vivaldi
Soloist Mhairi Lawson - vocals
1:06 Play $1.70
15
Cantata Elvira, anima mia for soprano & continuo, RV 654 Aria – Allegro non molto: Pupille vaghe

Cantata Elvira, anima mia for soprano & continuo, RV 654 Aria – Allegro non molto: Pupille vaghe

Composer Antonio Vivaldi
Soloist Mhairi Lawson - vocals
3:12 Play $1.70
16
Sonata ‘Graz’ (No.2) for violin & continuo in B minor, RV 37 Largo

Sonata ‘Graz’ (No.2) for violin & continuo in B minor, RV 37 Largo

Composer Antonio Vivaldi
Soloist Adrian Chandler - violin
Arranger reconstruction: Adrian Chandler
3:31 Play $1.70
17
Sonata ‘Graz’ (No.2) for violin & continuo in B minor, RV 37 Allegro

Sonata ‘Graz’ (No.2) for violin & continuo in B minor, RV 37 Allegro

Composer Antonio Vivaldi
Soloist Adrian Chandler - violin
Arranger reconstruction: Adrian Chandler
3:8 Play $1.70
18
Sonata ‘Graz’ (No.2) for violin & continuo in B minor, RV 37 Largo

Sonata ‘Graz’ (No.2) for violin & continuo in B minor, RV 37 Largo

Composer Antonio Vivaldi
Soloist Adrian Chandler - violin
Arranger reconstruction: Adrian Chandler
2:10 Play $1.70
19
Sonata ‘Graz’ (No.2) for violin & continuo in B minor, RV 37 Allegro

Sonata ‘Graz’ (No.2) for violin & continuo in B minor, RV 37 Allegro

Composer Antonio Vivaldi
Soloist Adrian Chandler - violin
Arranger reconstruction: Adrian Chandler
3:16 Play $1.70
20
Cantata Lungi dal vago volto for soprano, violin & continuo, RV 680 Recitativo: Lungi dal vago volto

Cantata Lungi dal vago volto for soprano, violin & continuo, RV 680 Recitativo: Lungi dal vago volto

Composer Antonio Vivaldi
Soloist Mhairi Lawson - vocals
2:02 Play $1.70
21
Cantata Lungi dal vago volto for soprano, violin & continuo, RV 680 Aria – Largo: Augelletti, voi col canto

Cantata Lungi dal vago volto for soprano, violin & continuo, RV 680 Aria – Largo: Augelletti, voi col canto

Composer Antonio Vivaldi
Soloist Mhairi Lawson - vocals
8:39 Play $3.40
22
Cantata Lungi dal vago volto for soprano, violin & continuo, RV 680 Recitativo: Allegrezza, mio core

Cantata Lungi dal vago volto for soprano, violin & continuo, RV 680 Recitativo: Allegrezza, mio core

Composer Antonio Vivaldi
Soloist Mhairi Lawson - vocals
1:02 Play $1.70
23
Cantata Lungi dal vago volto for soprano, violin & continuo, RV 680 Aria – Allegro: Mi stringerai sì, sì

Cantata Lungi dal vago volto for soprano, violin & continuo, RV 680 Aria – Allegro: Mi stringerai sì, sì

Composer Antonio Vivaldi
Soloist Mhairi Lawson - vocals
4:58 Play $1.70
Total Running Time 76 minutes Purchase all tracks 
$13.00 
Prices shown in US Dollars

La Serenissima perform Vivaldi's Elvira cantatas alongside two newly-reconstructed 'Graz' sonatas.

'Superbly stylish...sails off into the stratosphere' (Evening Standard).

The SACD layer is both 5.1 channel and 2-channel. The Studio Master files are 88.2kHz/24-bit.

Download includes - cover art, booklet
Antonio Lucio Vivaldi

Antonio Lucio Vivaldi

Vivaldi is recognized as one of the greatest Baroque composers. Known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over 40 operas.
profile & recordings >>
La Serenissima

La Serenissima

La Serenissima has firmly established itself as one of the leading exponents of the music of Antonio Vivaldi and his Italian contemporaries.
profile & recordings >>

Produced by Philip Hobbs

Booklet notes in English / Commentaire en français / Einführungstext auf Deutsch

L'Amore per Elvira

With the Vivaldi revival entering its second century, we are finally becoming better acquainted with the man and his music.  Naturally his concertos remain his most potent selling point, both on record and in concert, but thanks to the modern recording industry, his sacred music and operas are forcing a fresh appraisal of this extraordinary Venetian. 

Still awaiting thorough exploration, however, are his forty-odd cantatas for solo soprano and alto, an aspect of his output that has largely been neglected by scholars and performers alike, yet one which contains some of his finest and most inspired music.

It would appear that Vivaldi first started writing cantatas for the Mantuan court whilst holding the secular post of Maestro di Cappella di Camera.  The fame achieved through the publication of his concertos titled L'estro armonico (1711) soon enabled him to make his operatic debut in the provincial town of Vicenza with Ottone in Villa (RV 729), the success of which led to various commissions for Venetian houses between the years 1714 and 1718.  Unsurprisingly the Mantuan court were keen to acquire the services of such a promising young composer and soon he was producing works such as Teuzzone (RV 736) and Tito Manlio (RV 738) at the Teatro Arciducale (also known as the Teatro Comico) in the carnival season of 1718-19. 

Vivaldi's patron in Mantua was Landgrave Philip of Hesse-Darmstadt (1671-1736), a military man who had won his spurs fighting for the English against the French in the Netherlands in 1691-92.   He was evidently a man of exquisite and expensive taste and was eventually recalled in 1735 by Holy Roman Emperor Charles VI in favour of a candidate with smaller expense claims!

Twelve of Vivaldi's Mantuan cantatas survive, some of which appear to have been part of a cycle of possibly twelve works.  They were probably written for the court's elite inner circle, some members of which appear in the cantatas sporting Arcadian pseudonyms, a popular practice amongst contemporary Arcadian communities.  Precedence had already been set by Vivaldi's Serenata a quattro voci (RV 692) where Daliso (who appears in cantatas RV 652 and RV 665) represents Philip himself, Tirsi (who appears in RV 649 & 659) represents Margherita Pavesi Furlani and Eurilla (who appears in RV 649) represents Philip's daughter Theodora.

The most prolific name however is that of Elvira, the object of three cantatas.  Possibly conceived as a set, these works form a little story.  In Tremori al braccio (RV 799) the lover, (whose name we later learn to be Fileno) trembles at his inability to confess his love to Elvira, only overcoming his reticence in the finale (though not without reservations).  In the second work Elvira, anima mia (RV 654), Fileno bears the sad tidings to Elvira that he must leave for a while and asks for one last kiss before he leaves.  In the final work, Lungi dal vago volto (RV 680), the returning Fileno spies Elvira in the distance and he finally reaches her in the happy concluding aria.

Not long ago the performance of these three cantatas would have been impossible: Tremori al braccio was discovered as recently as 1999 by Oliver Fourés in the Gesellschaft der Musikfreunde in Vienna.  It provides a marvellous opening to the trilogy: the three trilled quavers depicting Fileno's trembling arms at the opening are a masterstroke and the harmonic structure of the opening recitative is inspired, as are those of its compatriot works. 

Housed in the Diözesanarchiv, Graz, are five sonatas by Vivaldi for violin and violonzello (sic).  These works have hitherto been neglected mainly on account of their missing bass parts.  Three survive elsewhere in slightly altered forms; the fast movements of the first sonata (RV 4) survive in the sonata dedicated to Johann Georg Pisendel (RV 2), the fourth sonata (RV 7) shares three movements with a sonata extant in both Udine and Cividale del Friuli (RV 7a) and the fifth sonata (RV 17) shares three movements with the ninth Manchester sonata (RV 17a).  The second and third sonatas are as yet unknown in other sources hence the reconstruction of Vivaldian bass parts for the purposes of this performance.

Although the Manchester sonatas were probably presented to Cardinal Ottoboni  in 1726, at least five of these twelve works were written earlier including that which survives in Graz.  One sonata was probably penned as early as 1716/7, conceived for Pisendel at the same time as RV 2 (see above).  This evidence tends to point to a compositional date for the Graz set as 1716 - 1720, similar to that of the Elvira cantatas which also bear some startling thematic similarities.

The received wisdom of recent academic research tends to suggest that the most popular accompaniment for the baroque violin sonata would have been either harpsichord or cello.  Although the title of these sonatas only specifies the cello, we have opted for the more decadent combination of cello, harpsichord and guitar or theorbo - a more lavish yet still historically plausible alternative.     

The final work due for discussion is the sole surviving sonata by Vivaldi for violin and obbligato cello, a combination he also used in three concertos.  Unlike the violin sonatas, this work adopts Vivaldi's standard three-movement concerto layout and even uses a simplified version of ritornello form in the first movement before reverting to the more standard binary form for the second and third movements. Whilst it is unsurprising for an advocate of the concerto to introduce its elements into a sonata, the three movement sonata had already been pre-empted by the Venetian trio sonata of the 1660s - 1690s, examples of which Vivaldi must surely have known.  Adrian Chandler: 2006

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Hi-Fi & Musik
5 Stars
"...härlig musik- och ljudkvalitet..."
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Classic FM Magazine
4 Stars
A 'splendid' recording
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BBC Music Magazine
4½ Stars
...bright-toned, immaculately articulated vivacity ...
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Gramophone
...memorable boldness and imagination.
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Klassik.com
4½ Stars
'Mhairi Lawson erzählt wunderbar mit ihrem flirrend leichten Sopran...'
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MusicWebInternational.com
The disc is definitely high on my list of recommendations for this year.
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The Scotsman
4 Stars
...a very listenable and very charming little collection.
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International Record Review
Impressive music-making, perceptive Vivaldi performances.
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Manchester Evening News
...an immensely enjoyable programme, one you can just sit down and listen to from end to end.
more >>

31 March 2014 to 31 March 2014
England, London
St George’s, Hanover Square, London, England, United kingdom
Great Baroque Composers in the Life of Johann Georg Pisendel

08 June 2014 to 08 June 2014
Europe
Handel-Haus, Kammermusiksaal 17:00, Halle, Germany, Europe
La Bretagna all’Italiana

27 June 2014 to 27 June 2014
Europe
Villa Pisani, Strà, Italy, Europe
Vivaldi: String concertos

15 July 2014 to 15 July 2014
England
St Peter’s Church, Norton, North Yorkshire, England, United Kingdom
Vivaldi — Il maestro di violino

18 July 2014 to 18 July 2014
England
St John’s Church 15:15, Buxton, England, United Kingdom
Angels & Devils

22 September 2014 to 22 September 2014
England, London
Cadogan Hall, London, England, United Kingdom
Vivaldi — The Red Priest

11 October 2014 to 11 October 2014
England
Beaulieu Abbey Church, Beaulieu, Brockenhurst, Hampshire, England, United Kingdom
Vivaldi Concertos

13 October 2014 to 13 October 2014
England
Trinity College Chapel, Cambridge, England, United Kingdom
La Bretagna all’Italiana

21 November 2014 to 21 November 2014
England
St George’s, Great George Street, Bristol, Avon, England , United Kingdom
Vivaldi — The Red Priest

04 December 2014 to 04 December 2014
England
Turner Sims Concert Hall, University of Southampton, Salisbury Road, Southampton, England United Kingdom
Vivaldi — The Red Priest