Edizione Vivaldi Vol. 2 (Accardo, Gendron, Canino, et al.) - Philips 3LP box

$

50

ITEM DESCRIPTION:

This lovely 3LP box set, a fine collector’s copy, from Philips (6768 750, Dutch pressing, blue/white labels, stereo, booklet included) features Volume 2 in the label’s remarkable “Edizione Vivaldi”, this installment drawing together performances by some of the finest instrumentalists of the last half-centiury, including violinist Salvatore Accardo and cellist Maurice Gendron.

These recordings were produced by Vittorio Negri and engineered by Willem van Leeuwen.

Vivaldi: 6 Violin Sonatas Op. 5

Sonata No. 1 in F Major RV 18

Sonata No. 2 in A Major RV 30

Sonata No. 3 in B-flat Major RV 33

Sonata No. 4 in B minor RV 35

Sonata No. 5 in B-flat Major RV 76

Sonata No. 6 in G minor RV 72

> with Sylvie Gazeau (violinist), Rohan de Saram (cello), and Bruno Canino (harpsichord).

(Doppsgezinde Kerk, Amsterdam, on 11 April 1977)

Nicolas Chédeville (attributed to Vivaldi): 6 Recorder Sonatas Op. 13 (“Il Pastor Fido”)

            Sonata No. 1 in C Major RV 54

            Sonata No. 2 in C Major RV 56

            Sonata No. 3 in G Major RV 57.

            Sonata No. 4 in A Major RV 59

            Sonata No. 5 in C Major RV 55

            Sonata No. 6 in G minor RV 58

> with Jean-Claude Veilhan (recorder), Jean Lamy (cello), and Blandine Verlet (harpsichord and organ)

(rec. at the Salle Adyar, Paris on 9 June 1970)

Vivaldi: 6 Cello Sonatas Op. 14

            Sonata No. 1 in B-flat Major RV 47

            Sonata No. 2 in F Major RV 41

            Sonata No. 3 in A minor RV 43

            Sonata No. 4 in B-flat Major RV 45

            Sonata No. 5 in E minor RV 40

            Sonata No. 6 in B-flat Major RV 46

> with Maurice Gendron (cello), Marijke Smit-Sibinga (harpsichord), and Hans Lang (cello)

(rec. at Eindhoven, Wapen van Eindhoven during 25-30 January 1967)

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Wrote the critic N.A. in his review for the January 1979 issue of The Gramophone:

“This attractive volume (No.2 of the "Vivaldi Edition") contains some less familiar music by Vivaldi, or not by Vivaldi, as the case may be concerning It Pastor Fido. More of that later, for meanwhile there are two very fine discs of sonatas which make this collection most worthwhile. Vivaldi's six Violin Sonatas, Op. 5 were published in 1716-17. Four of them only are for solo violin and continuo, the last two being trio sonatas for two violins and continuo. Salvatore Accardo was the soloist in the twelve concertos comprising Vivaldi's Opp. 11 and 12 contained in Volume 6 of the "Edition" (6768 012, 7/78). His performances there were first-rate and I'm glad to say that there is no cause for disappointment in the present sonatas. They are played with a warmth and sensitivity which I found persuasive. Most of the pieces are attractive without being particularly inventive or ambitious, but one can discern some of the individualities of the composer's style which I find lacking in the earlier Op. 2 set, for instance. The influence of Corelli is strong but not as strong as it had been seven or eight years earlier. As in Corelli's sonate da camera, dance movements predominate, only the preludes being denied a dance name.

“On quite another level, to my mind, are the six Cello Sonatas published in about 1740 and which are assumed to be Vivaldi's Op. 14 though there is no such indication on the manuscript itself. I doubt if Vivaldi wrote any finer sonatas than these and I am rather sorry that Philips did not take this opportunity to include the three other cello sonatas which, although not part of this set, are in no respect inferior to it. The present performances by Maurice Gendron first appeared in the catalogue about ten years ago; 1 liked them then and, rather to my surprise, 1 like them even more now. Gendron's technique is impeccable and his musicianship tasteful and sensitive. Each of the Sonatas is of a four-movement type and I defy any listener to find a dull one among them. Presumably Vivaldi must have had some virtuoso in mind to perform these exacting pieces for, both technically and musically, they are pioneering works far exceeding in invention similar works by Benedetto Marcello, for instance. Just occasionally, I felt that Gendron was setting a little too brisk a pace in the fast movements but he never allows tempo to outstrip technique. Apart from this, I found his performances thoroughly enjoyable and he is supported by a good continuo group of cello and harpsichord.

“II Pastor Fido is a curious collection of six sonatas published in France in 1737. Although much if not all the music is undoubtedly by Vivaldi its idiom is singularly unlike anything else that he wrote. It is by no means impossible that the Sonatas could be arrangements by a Frenchman of movements from Vivaldi concertos, several of which will be familiar to listeners. Certainly the manner in which they have been written and assembled closely resembles similar Sonatilles galantes by Chedeville the Elder. The short article included with this set mentions Chedeville the Younger as possibly having had a hand in arranging the music. I think he was the chap who transcribed The Four Seasons for bagpipe, hurdy-gurdy and goodness knows what else! Whatever the truth is behind these sonatas they have always struck me as having very limited appeal to a listener though they are more entertaining to play. One of the problems is that because the arranger had instruments like the bagpipe or hurdy-gurdy in mind as alternatives to a flute, recorder, oboe or violin, the musical notation and tonal structure is necessarily limited. There is, therefore, a preponderance of tonic-dominant tonality, with little in the way of subtle modulation. But still, these pieces do have a certain naive charm and I found the performances in this instance imaginative and alert to the dangers of allowing the music to become merely a futile progression of notes. Jean-Claude Veilhan is a sound recorder-player; occasionally his instrument sounds a little husky and I was sorry that he did not involve other instruments to alternate with his own. Blandine Verlet and Jean Lamy afford him good support, and generally speaking I found their interpretations more sensible than the serenade of pans, dustbin lids and tin trays that some others have indulged in by observing the extravagant requirements of the title-page to the last letter.”

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Exquisite minor masterpieces here rendered in exquisite fashion – for those who love Vivaldi or for those who treasure the art of the violin, cello or recorder, these LPs will be enchanting.

Included is a full-size, heavy-weight paper, 12-page booklet with extensive notes on the music by Michael Talbot – all texts provided in English, German, and French.

Incidentally, the cover art on the box front reprints “The Basin of San Marco on Ascension Day” by Antonio Canal (1697-1768).

CONDITION – PLEASE READ CAREFULLY:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of the box is EXCELLENT. There are few small “dings” to the box front, some very slight wear at corners, and minor shelfwear, but that is all. There are no seamplits, corner breaks, bends, or owners' markings, and the box remains solid, bright, and attractive – overall, this rates as an excellent collector’s copy.

The condition of the 12-page, heavy-weight paper, full-size booklet is near-MINT. The binding remains perfect, the cover and pages bright and clean.

The condition of the 3 LPs is near-MINT throughout. There are no real flaws to speak of and all three discs plays without fault – truly, superb collector's copies.