(转帖)【Naive】维瓦尔第(1678-1741) 奏鸣曲(作品第1号)

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【Naive】维瓦尔第(1678-1741) 奏鸣曲(作品第1号)
Vivaldi - Sonate da Camera a tre, due violini e violone o cembalo, opus 1
TESORI DEL PIEMONTE vol.50 皮埃蒙特宝藏(卷50)
Concerti da camera vol.5 室内协奏曲(卷5)

Composer: Antonio Vivaldi (1678-1741) 安东尼奥·卢奇奥·维瓦尔第
Ensemble: L'Estravagante
                  Stefano Montanari, violin
                  Stefano Rossi, violin
                  Francesco Galligioni, cello
                  Maurizio Salerno, harpsichord et organ
                  Franco Pavan, theorbo et zither
                  Pietro Pasquini, organ
Conductor:
Label: Naive
Catalogue No: OP30535 (https://www.naive.fr/en/work/sonate-da-camera-a-tre-opus-1)
Series: Vivaldi Edition (https://www.prestoclassical.co.uk/classical/series/2856/browse)
Number of Disc: 1
Genre: Classique
Release Date: 31/01/2012
Durée 64' - Collection Edition Vivaldi - Code ean 709861305353

    安东尼奥·卢奇奥·维瓦尔第(意大利语：Antonio Lucio Vivaldi，1678年3月4日－1741年7月28日)，昵称Il Prete Rosso(红发神父)，是一位意大利神父和巴洛克音乐作曲家，同时还是一名小提琴演奏家。其最著名的作品为《四季》。
    维瓦尔第的介绍详见： https://baike.baidu.com/view/11218.htm

TESORI DEL PIEMONTE，简写为：TDP
英文: Treasures of Piedmont
中文: 皮埃蒙特宝藏
Piedmont: 音译为“皮埃蒙特, 皮尔蒙多, 皮尔蒙特”。
    皮埃蒙特(Piedmont)地区位于意大利的西北部，和法国、瑞士接壤。西北部阿尔卑斯山下的皮埃蒙特是全意大利最精致迷人的葡萄酒与美食故乡。皮埃蒙特在意大利语中意为“山脚”，它是意大利最广袤的DOC、DOCG级别酿酒葡萄种植地，拥有大约40多个不同的葡萄酒命名产区。皮埃蒙特是一个专产单一品种葡萄酒的产区，是许多世界知名品种以及风味独特的地区性品种原产地。在这里，大部分的葡萄酒采用单一品种酿造，品种的个性主宰了皮埃蒙特区葡萄酒的风格。在意大利，皮埃蒙特(Piedmont)是与托斯卡尼(Tuscany)相齐名的顶级葡萄酒产区。
详见： https://baike.baidu.com/view/493583.htm
    皮埃蒙特的首府是意大利第3大城市都灵，维瓦尔第有超过450部作品的原始乐谱和手稿就收藏在都灵国立图书馆(Biblioteca Nazionale Di Torino)。这些珍贵史料主要是外汇代理商佛亚和企业家玖丹诺的贡献，他们为了纪念早逝的儿子，分别于1927年和1930年慷慨捐献。随后图书馆当局又积极购藏其他失散在外的乐谱，如今所藏维瓦尔第作品已经高达27卷之多。Opus 111这家高品味唱片公司，针对这批乐谱先前尚未被录音的部分加以整理，准备通通录成CD，此录音计划称为《皮埃蒙特宝藏》(Treasures of Piedmont)。

The official ‘debut’ of composer Vivaldi! Probably the earliest works of his that have come down to us...
Naïve’s valiant project to record Vivaldi’s complete personal library of scores (some four hundred fifty autograph manuscripts preserved in Turin) has surpassed forty CDs and counting, but the label has already begun appendices to the project, including new discoveries and, as here, important pieces not included in the main collection. This is a wonderful thing, as it gives us nine of the Red Priest’s Op. 1 trio sonatas in intense, color-rich performances by the period-instrument ensemble L’Estravagante. One vital development of the latter-day period-instrument movement has been the reclaiming of Italian Baroque repertoire by Italian groups (back from Northern Europeans who got there first, if not best). Like their finest native counterparts, L’Estravagante speaks this music as a mother tongue – and the sound is vivacious, dramatic, gorgeous. Vivaldi’s chamber settings for two violins with cello or harpsichord (and sometimes theorbo or chamber organ) are as fresh as sunshine here, starting with the composer’s eleven-minute set of variations on the compulsive “La Folia” rhythmic-melodic theme so pervasive in the Baroque era. This isn’t demure, rarified chamber art; it’s music as sensual rapture.
-- Bradley Bambarger, Listen Magazine [Summer, 2012]
In 1705, Giuseppe Sala published in Venice the Suonote do camera a tre, due violini o violone o cembalo op.1 of Antonio Vivaldi. This set of trio sonatas marked the official 'debut' of a composer who was already more than a mere youth (the 'Prete Rosso' was then 27-years old), and probably contains the earliest works of his that have come down to us. It is very likely, though, as Michael Talbot has pointed out, that the copy of 1705 is in fact a reprint of a now lost first edition published in 1703. However that may be, this collection dedicated to the Brescian nobleman Count Annibale Gambara displays a balance - at times, inevitably, somewhat precarious - between reference to codified formulas and models, on the one hand, and the definition of an original expressive voice on the other. In terms of scoring, his Op.1 adopts the recently created Italian format of the trio sonata, the output of which was dominated by the Arcadian reform of Arcangelo Corelli: even in Venice, where a renowned instrumental tradition already existed, Corelli's Opp.1-4 enjoyed almost immediate diffusion and were reprinted by the aforementioned Sala just a few years after the Roman first editions (in 1684, 1686, 1691 and 1695 respectively).

Contents:
Sonata XII "Follia" in D minor, RV63
Sonata IX in A major, RV75
Sonata I in G minor, RV73
Sonata XI in B minor, RV79
Sonata VIII In D Minor, RV64
Sonata IV in E major, RV66
Sonata III in C major, RV61
Sonata VII in E flat major, RV65
Sonata X in B flat major, RV78

Tracks:
1. Sonate XII "Follia" in D minor, RV63      11'08
Sonata IX in A major, RV75
2. Sonate IX - Preludio-Allegro
3. Sonate IX - Adagio
4. Sonate IX - Allemanda – Allegro
5. Sonate IX - Corrente – Presto
Sonata I in G minor, RV73
6. Sonate I - Preludio – Grave
7. Sonate I - Allemanda – Allegro
8. Sonate I - Adagio
9. Sonate I - Capriccio – Allegro
10. Sonate I - Gavotta – Allegro
Sonata XI in B minor, RV79
11. Sonate XI - Preludio – Andante
12. Sonate XI - Corrente – Allegro
14. Sonate XI - Gavotta – Presto
Sonata VIII In D Minor, RV64
15. Sonate VIII - Preludio – Largo
16. Sonate VIII - Corrente – Allegro
17. Sonate VIII - Grave
18. Sonate VIII - Giga – Allegro
Sonata IV in E major, RV66
19. Sonata IV - Largo
20. Sonata IV - Allegro
21. Sonata IV - Allemanda – Allegro
22. Sonata IV - Sarabanda – Largo
23. Sonate IV - Giga – Allegro
Sonata III in C major, RV61
24. Sonate III - Adagio
25. Sonate III - Allemanda – Allegro
26. Sonate III - Adagio
27. Sonate III - Sarabanda – Allegro
Sonata VII in E flat major, RV65
28. Sonate VII - Preludio – Largo
29. Sonate VII - Allemanda – Allegro
30. Sonate VII - Sarabanda – Andante
31. Sonate VII - Giga – Presto
Sonata X in B flat major, RV78
32. Sonate X - Preludio – Adagio
33. Sonate X - Allemanda – Allegro
34. Sonate X - Gavotta – Presto
TT: 64'00

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