Cremona 2
Antonio Vivaldi (1678-1741)
‘L’estro armónico’ concertos for 4 violins, 2 violas, cello & continuo, Op. 3 Nos 1, 4, 7 & 10
Georg Philipp Telemann (1681-1767)
Concerto in A major for 4 solo violins, strings & continuo, TWV 54:A1
Concerto in F major for 3 violins, strings & continuo, TWV 53:F1
Johann Sebastian Bach (1685-1750)
Concerto in C major for 3 solo violins, strings & continuo, after BWV 1064 (reconstructed by Reinhard Goebel)
Berliner Barock Solisten/Reinhard Goebel
rec. 2024, Telex Studio, Lichterfelde, Berlin
Hänssler Classic HC24052 [71]
This is the follow-up album to the 2023 release by Reinhard Goebel: ‘La Cremona – Concerti per 3 & 4 Violini’.
Founded in 1995 primarily from the ranks of the Berliner Philharmoniker, the Berliner Barock Solisten (BBS) play early music with historically informed performance practice using modern instruments. Violinist, conductor and early music specialist Rainer Kußmaul (1946-2017) shaped and led the ensemble, becoming its artistic director in 2018, until he retired in 2010. The ensemble’s approach was very different to the many period-instrument ensembles, then all the rage. Goebel is best known as the founder in 1973 of the period instrument ensemble Musica Antiqua Köln (which he directed for 33 years), renowned for their recordings notably on Archiv Produktion; they disbanded in 2007.
The north Italian city of Cremona provides the theme of this album. It was renowned for its family workshop tradition of manufacturing violins and other bowed string instruments. Famous Cremonese luthiers include Amati, Stradivari, Guarneri and Rugeri.
Both albums focus on violin concerti written by innovative baroque composers. Technical advancements in string instrument manufacture enriched musical style, creating previously undreamed of possibilities. Many progressive – mainly Italian – composers such as Vivaldi, Durante, Leo, Tartini, Locatelli and Sammartini were happy to take advantage of this, as did some Germans, notably Telemann and J.S. Bach; many of them were also virtuoso violin soloists. Consequently, the violin in particular became a far more frequent feature of the concert platform.
The programme here consists of eight violin concerti from the early to mid-18th century. Vivaldi wrote the first four, part of his important collection of twelve violin concerti, Op. 3, for 1, 2 and 4 violins with the title ‘L’estro armonico’ (Harmonic Inspiration, or Harmonic Fire). The set was published by Estienne Roger in 1711 in Amsterdam. The Op. 3 collection is dedicated to music-loving Ferdinando III, the de Medici heir to the Grand Duchy of Tuscany.
The publication of the Op. 3 collection made a real impact, although the works differ in quality and were written at different times. The earlier works were no doubt influenced by older Italian composers such as Legrenzi, Torelli and Corelli. Vivaldi uses his perspective on the baroque concerto grosso that contrasts the group of solo instruments with the ripieno.
The first is the wholesome, spring-like Concerto No. 1 in D major, then No. 4 in E minor – such a noble, generous work – then the joyful No. 7 in F major, featuring inspirations and even borrowings from Corelli. Last is the crowning glory of the set: No. 10 in B minor, in which Vivaldi demonstrates his extraordinary gifts for melody, energy and style. A highlight is the distinctive character of the delightful central movement Largo with its concluding Larghetto section.
Georg Philipp Telemann is represented here by a pair of concerti, one featuring 4 violins and another with 3. Of the two greatest German Baroque composers of the day, Telemann was then the better known, holding posts in a number of German cities. The most prestigious was in Hamburg years from 1721-67, where he served as city music director, responsible for five major churches, and was moreover director of the Hamburg Opera.
Teleman and Bach were closely connected in several ways. Not only were they friends and close contemporaries with kapellmeister roles, but they also wrote similar types of music -the major difference between them being that Telemann wrote numerous operas whereas Bach wrote none. Telemann was godfather to Bach’s son C.P.E. Bach and also related to Maria Barbara Bach. He was well-travelled but I am unsure whether he met Vivaldi; he would, however, certainly have known his music.
Telemann’s Musique de table (Tafelmusik) collection of instrumental works was published in 1733 and made available to subscribers and is one of his most notable compositions. It is in three parts named Productions and follows a similar format with each part containing contrasting movements. I find the striking Allegro opening movement the Concerto in F major for 3 violins, strings & continuoblithesome and energetic, and the contemplative central Largo is lovingly played. The Concerto in A major scored for 4 solo violins, strings and continuo is designed in three short movements; the work abounds with joy and there is an especially attractive and vivacious middle movement Allegro.
It is likely that J.S. Bach’s group of harpsichord concertos didn’t originate as keyboard works being transcriptions of earlier works for other solo instruments. The Concerto for 3 harpsichords in C major, BWV 1064 is probably a reworking of an earlier Concerto for 3 violins (BWV 1064R). Philipp Spitta describes it as ‘one of J.S. Bach’s most impressive instrumental compositions.’ Goebel is here conducts his own reconstruction of it; it works really well; the playing of the outer movements Allegros is particular stands out for its unfailing verve.
The partnership between the Berliner Barock Solisten and Goebel is firm and fruitful. His direction employs sensible tempi and they play with unshakable conviction. The accompaniment on modern instruments is crisp and alert. Goebel admirably and impressively ensures that the crucial ingredients of vitality and ebullience are present in each work.
There are no problems whatsoever with the sound quality. The accompanying booklet contains a helpful essay by Goebel but there are some errors in the texts: Vivaldi ‘s and Telemann’s death dates are erroneous and the Vivaldi Concerto in B minor, RV 580 is shown incorrectly as No. 11, Op. 3.
Michael Cookson
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