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Wydawnictwo: Encelade
Nr katalogowy: ECL 1602
Nośnik: 1 CD
Data wydania: listopad 2017
EAN: 3770008056114
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Nasze kategorie wyszukiwania

Epoka muzyczna: barok
Obszar (język): włoski
Instrumenty: klawesyn
Rodzaj: koncert, sonata

Vivaldi: Concerti for two harpsichords

Encelade - ECL 1602
Gwennaelle Alibert, harpsichord
Clement Geoffroy, harpsichord
Nagrody i rekomendacje
Diapason 5 Music Island Recommends
Concerto for 2 violins, RV 517
Sonata opus 1, No. 2
Concerti for recorder and oboe, RV 99 & RV 100
Concerto for recorder, oboe, violin and bassoon, RV 107
Concerto for violin and organ, RV 766
Concerto for violin and organ, RV 808
Concerto for recorder, violin and bassoon, RV 96
Sonata opus 1, No. 6
Concerto for strings, RV 134
There is one essential question which immediately comes up if you want to play with two harpsichords and that is repertoire. Unfortunately there is little music written specifically for this configuration, compared to the enormous repertoire for solo harpsichord. Even so, there are a number of clues suggesting that this was a very widespread practice back in the 17th and 18th centuries.

As lovers of Vivaldi’s music - and frustrated that none of his works were written specifically for our instrument - we thus decided to perform them on two harpsichords. The addition of a second harpsichord is not a matter of merely doubling the instrument’s expressive possibilities, it actually increases them tenfold, providing the obvious alternation between Tutti and Soli, allowing us both to perform in stereo and to offer a much wider palette of nuances.

As we set to work, the first thing we had to do was to rewrite the left-hand parts. The bass parts which accompany the soli in Vivaldi’s music are often very simple, purely rhythmic devices with a crystal-clear harmony. They allow the continuo players to follow the soloist easily, and the latter can then express him or herself, giving his or her imagination free rein. The harpsichord, organ and theorbo can develop the harmony in their own ways and supplement the discourse with melodic performance. However, this simple bass part, usually played by two or three instrumentalists, seems rather dull if we just play it on the harpsichord alone, so we have altered it considerably, giving it a more melodic role (sometimes even that of a soloist) and expanding its range, in such a way as to fill out the harpsichord.

To end with, we must also mention one particular feature of the harpsichord. Although the virtuoso passages are perfectly-suited to the instrument, which gives them even more brilliance, the slow passages can be more difficult to reproduce. This is because the harpsichord does not have the ability to sustain sounds; once the note has been played, all that remains is to decide when to stop it, but the performer cannot either augment or diminish the sound as a bow or breath would do with a string or wind instrument. The only way of bringing long notes to life is to add trills to them or to ornament them with a melodic motif, which allows the vibration to be sustained.

Zobacz także:

  • ACDBN 099-2
  • ALC 1383
  • ACC 24361
  • CDA 68284
  • SIGCD 566
  • AUDITE 20037
  • NFPMA 99135
  • HC 19031
  • CC 72805
  • WER 51192