![]() It may be a bit far out, but this is a fresh Vivaldi disc in every way. The Violin Concerto in B flat major, RV 372, "Per Signora Chiara," and Violin Concerto in B minor, RV 390, are late works that contribute anew to the understanding of how much Vivaldi contributed to the forerunners of Classicism. One and possibly more of these works were written for Vivaldi's orchestra of illegitimate girls at the Ospedale della Pietà, and indeed the entire disc is easy to imagine in performance by that presumably small group. The Four Seasons are balanced with other concertos that are quite rare, two of them world premieres. It was only natural that, after tackling Haydn and the Esterházy princes, Amandine Beyer and Gli Incogniti should investigate this repertoire in which, once again, aristocratic patronage lies at the heart of musical creation. There are, however, enough startling choices, like the heavily plucked and much-faster-than-Largo central movement of the "Winter" concerto (track 18), that the disc may be more to the tastes of the adventurous than otherwise sample extensively and decide. That works quite well with the Four Seasons concertos, which are rendered in a colorful enough way that they evoke many of the images in Vivaldi's accompanying printed sonnets (which would have been a profitable inclusion in the booklet). The overall feel is light and agile Beyer doesn't so much push the tempo (although there's a little of that) as imbue the solo lines with maximum variety, creating a fantasy-like feel. Amandine Beyer is the ambassador of the 2023 edition of Early Music Day: the artist who recorded the critically acclaimed Sonatas and Partitas by J. In her own words, Beyer seeks "lightweight forces and freedom of phrasing." The group is small, with microphones put down right in the middle, and you hear lots of internal lines and interplay rather than contrast between orchestra and soloist. Her version, with the Italian historical-instrument group Gli Incogniti (who are not quite as unknown as all that), is as strikingly revisionist as the various turbo-powered, operatic Vivaldi recordings that began coming out of Italy in the 1990s, but it is different in flavor. ![]() ![]() After programmes of music by Nicola Matteis and Johann Rosenmüller, in 2013 the ensemble released a new version of Corelli’s celebrated Concerti Grossi op.6 that obtained a Diapason d’Or of the year (Zig-Zag Territoires).Director and violinist Amandine Beyer acknowledges in her booklet notes for this disc that the world may not seem to need another recording of Vivaldi's The Four Seasons, but then she tops the bar she has set up by delivering an entirely distinctive reading of the work. Its first recordings, devoted to the violin concertos of Bach and Vivaldi, were immediately singled out for mention by the international press. Gli Incogniti has appeared in many leading venues (including the opera houses of Dijon and Monte Carlo and the Théâtre de la Ville in Paris) and at such festivals as Via Stellae in Spain, Tage Alter Musik in Regensburg (Germany), and Saintes, Sablé and Lanvellec in France. The primary aim of its approach founded on the pleasure of a ‘union of tastes’ (the goûts réunis dear to François Couperin), achieved through collective work, is to convey to its listeners a committed and cohesive vision of the music it tackles. The choice of name was motivated by the group’s taste for the unknown in all its forms, whether this involves experimentation with sonorities, exploration of new repertory, or rediscovery of the ‘classics’. The ensemble founded by Amandine Beyer in 2006 takes its name from the Accademia degli Incogniti, a musical society active in Venice in the 1630s.
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