Deutsche Version


Eventually the manuscript that David used for his version was rediscovered. Modern research revealed the score to be in the handwriting of a principal music scribe at the Dresden Hofkapelle named Jacob Lindner (who also copied many of the Vivaldi works in Dresden) dating from no later than 1730. Any doubts as to the fecundity of Vitali's (or Vitalino's) creative imagination are silenced when you approach page four of the manuscript, when the composer jaw-droppingly juxtaposes the violin playing in an enharmonic D-sharp Major over the E flat Major chords of the continuo. Apparently, such audacious harmonic experimentation ran in the Vitali family, as evidenced in a work by Vitali's father, Giovanni Battista, a Passagallo dating from 1689 that begins in E-flat major, only to end many measures later in E Major!

 

While J. S. Bach labored away in comparative obscurity in Leipzig, his friend (and Godfather to his son, Carl Philipp Emanuel) Georg Philipp Telemann would become the most powerful and celebrated musician in Germany. Not only was Telemann extraordinarily prolific (his record in the Guinness Book of World Records stands unchallenged...), he possessed a congenial ruthlessness and a shrewd aptitude for business that helped him navigate the choppy waters of Hamburg's ecclesiastical politics. Telemann recognized early in his career the lucrative market in providing music for amateurs and dilettantes and he published many large collections to meet this need, including the pioneering music journal Der getreuer Musikmeister ("The Faithful Music Master"). Telemann's "Essercizii Musici overo Dodeci Solo e Dodeci Trii à diversi stromenti" was published in 1740. Consisting of 12 solo sonatas and 12 trios, Telemann deftly explores nearly every aspect of chamber music composition, freely drawing upon the French, German and Italian styles then in vogue. The D Minor Sonata performed here begins with a lovely movement marked with one of Telemann's favorite tempo indications - Affetuoso (tenderly, affectingly). A vigorous Presto in the Italian-style is followed by an all-too-brief Grave that serves as a wistful prelude to the concluding gigue-like Allegro.

 

Antonio Vivaldi (1678-1741)/Nicolas Chédeville (1705-1782)
Sonata in G Major, RV 59, from Il pastor fido, Op.13


 

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