VIVALDI | Concerto RV 107 in G minor | Original manuscript

[@maths781]

Как же я люблю Антонио Вивальди.

[@naukan]

I know this is 4 years old. But Jesus Christ this is criminally underrated. Both this piece, and this channel. Thank you very much for all the effort!

[@Apyyre]

7:09-7:48 my God..

[@LeighSuzi]

Thank you Del Vivaldi for your hard work. This is the best version of 107 imo. Thanks Barocksolisten München, a German team plays an Italian baroque with Spanish flamenco accent, very sweetly and vividly interesting.

[@DelVivaldi]

Vivaldi's chamber concertos, and the "orchestra" version of five of these published in Opus 10, all feature some sort of "flauto", whether recorder (flauto dolce) or transverse flute. For a time there was uncertainty around the Italian terms "flauto" and "flautino", and organological speculation as to whether the intended instrument was from the family of recorders (sopranino, soprano, etc.) or transverse (where "flautino" was taken to mean "piccolo"). This aura of uncertainty seems to have alerted modern recorder players to this repertoire, because if a Vivaldi chamber concerto is on the program nowadays, there is a good chance it will be played on the recorder. Nevertheless, a majority of them are written for the "Flauto Traversier", as this one, RV 107. There never was any kind of ambiguity around the term "Flauto Traversier" that Vivaldi uses. And yet these days, you can hardly find a recording where these compositions are played on the transverse flute. What was once the exception (Michala Petri and her excellent Opus 10 recording with ASMF) has become the norm. There is no question that most recorder versions are very well done; and compared to the baroque transverse, the recorder seems the more agile instrument. And therefore, the recorder would seem better suited to those (more often than not) very lively compositions. The recorder's popularity, it seems, is on the rise, and with good reason; in Vivaldi's time though, it was the exact opposite: the transverse flute was becoming the preferred instrument. But Vivaldi, controversial though he is, and fashion-conscious though he was, is not often faulted for his choice of instrumentation. It is a recognized fact that in his place and time, there was hardly a composer with a better sense of orchestration, in the modern sense. As a result, it is my personal opinion that the true nature of these chamber concertos, as intended by the composer, still remains to be explored. Nikolaus Harnoncourt, at the end of the 1960s, was one of the first to record them, but true to his beliefs about historical performance, he only chose compositions that were specifically intended for the recorder (his instrumentist was Frans Brüggen).

[@LeighSuzi]

Thank you so much for the information

[@marcosPRATA918]

Questões do texto ao ponto, excelente!

[@vivaldifromjapan5853]

I know a little bit about flutes and recorders that I was wondering about. Thank you.

[@Rik77]

This work is much easier to play on the recorder, but it's very lovely and more haunting on the flute, which I'd the proper instrument. Most of these chamber concerti are for flute rather than recorder.

[@stellario82]

Love the 2nd and 3d movement: total ecstasy!

[@nico_flautista]

I love the chaconne of third movement!

[@sibenevales-valeo2877]

N'est-ce pas plutôt une tarentelle ?

[@sergiogiudici6976]

@@sibenevales-valeo2877 Tarantella Is a dance in 6/8 .. chacconne in 3/4.

[@daniloapostolov-dacatv1536]

​@@sergiogiudici6976Nope. That's waltz

[@jaskiratpianist]

Such delight music. My ears!

[@math9172]

This piece is my guilty pleasure. It's not that complicated or original among Vivaldi's pieces, yet for some reason it hits so hard. The perfect harmony of the instruments is so charming, and this specific interpretation truely skyrockets the piece to its full potential.

[@marcosPRATA918]

"Cantabile" belo no 2o mov.; o allegro (3.mov) escrito à "folia" é magnífica, lembra o estilo de Boccherini. Vivaldi é o máximo.

[@domenicobrescia-italia2282]

Vivaldi é o máximo. e qui nel iii tempo bacia Partenope!

[@EM-co8kc]

vivaldi is a lot of fun

[@fuadjada4155]

Viva Vivaldi!

[@filosoforvgsapereaude5020]

Otra gran obra del veneciano

[@mrJohnDesiderio]

Mind blowing!

[@osvaldocapella3135]

Al terminar de escucharlo en la cama me puse a aplaudir!!! 👏👏👏👏

[@curiosity.88]

00:25-00:32 reminds me La Primavera 1 mv.

[@mrJohnDesiderio]

Don Antonio forever!

[@robertogoulart9296]

Wonderful!!!

[@undamaris8]

The bass line in the third movement is almost identical to the bass line in the Goldberg Variations, albeit in the minor key. Interesting coincidence.

[@SimoneBattaglia94]

That bassline/schema has been called "basso di Ruggiero" and it was actually commonly used troughout all the baroque era. It probably has its roots in the popular rustic dances of the renaissance.

[@harptenor88]

...Vivaldi wasn't listening to Bach ..Bach was listening to Vivaldi through the Dresden manuscripts.

[@suelamullaj7068]

capolavoro

[@mrpixelminecraft133]

Wow! The third movement!

[@edwardhoward5525]

Would welcome other peoples' comments but I think Vivaldi's chamber concerti are of an incredibly high standard -not a dull movement anywhere. I think the overall level of invention is better than any other body of his work. I love wind instruments so I may be biased! Any thoughts?

[@Rik77]

They are very inventive, but like a lot of Vivaldi they are vehicles for drama and virtuosity which means they are quite difficult to really pull off. Many players find that they are a lot of work as they require inspiration from the performer to bring it to life. If you just play the notes plainly it's quite boring for everyone involved.

[@KanjiDaito]

Wonderful recording. Does anyone know who was playing basso continuo?

[@GoldenHairAngel]

Are those images of an actual original copy of the music?

[@DelVivaldi]

Not an original but THE original, the music written as the composer composed it, yes.

[@GoldenHairAngel]

@@DelVivaldi Thanks, that's so cool.

[@domenicobrescia-italia2282]

Vivaldi é o máximo. e qui nel iii tempo bacia Partenope! (he kisses Partenope).

[@kapsho]

0:11, this part is very similar to the part in Bach's first sonata, fugue kzbin.info/www/bejne/g4OuqmahjZ2Li68 check 5:00

[@math9172]

It really does you're right, and not only at 5:00 of Bach's piece. Another of the many testimony of Vivaldi's influence on Bach.

[@宮本孝正]

第三楽章こそは「疾走する悲しみ」です。

[@renservice1725]

Отличный концерт и приличное исполнение.

[@renservice1725]

Клависин лажает немного.