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Antonio Vivaldi 1678–1741 Flute Concertos Op.10 6 Concerti a Flauto Traverso, Violino Primo e Secondo, Alto Viola, Organo e Violoncello (Amsterdam, 1729)

1 2 3

Concerto No.1 in F RV433 ‘La tempesta di mare’ I. Allegro II. Largo III. Presto

2’37 1’57 2’11

4 5 6 7 8

Concerto No.2 in G minor RV439 ‘La notte’ I. Largo II. Presto (Fantasmi) – Largo III. Presto IV. Largo (Il sonno) V. Allegro

2’39 1’19 1’04 1’53 2’15

Concerto No.5 in F RV434 15 I. Allegro ma non tanto 16 II. Largo cantabile 17 III. Allegro

3’26 2’43 1’51

Concerto No.6 in G RV437 18 I. Allegro 19 II. Largo 20 III. Allegro

3’59 1’46 2’21

Mario Folena flute L’Arte dell’Arco

Concerto No.3 in D RV428 ‘Il gardellino’ 9 I. Allegro 10 II. (Cantabile) 11 III. Allegro

3’52 3’14 2’59

Concerto No.4 in G RV435 12 I. Allegro 13 II. Largo 14 III. Allegro

2’39 2’53 2’15

on original instruments Federico Guglielmo violin I & concertmaster Isabella Bison violin II · Mario Paladin viola Cristiano Contadin violotto Roberto Loreggian harpsichord/chamber organ Ivano Zanenghi theorbo/Baroque guitar

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Vivaldi: Flute Concertos Op.10 Vivaldi had a fairly problematic relationship with publishing throughout his life, even though the printed editions of his works must have contributed to his widespread fame. At the outset, he turned to two, somewhat dated traditional printers in Venice, respectively entrusting his Op.1 and Op.2 to Bortoli and Sala. Then in 1709 he decided to go over to Estienne Roger, the Amsterdambased publisher whose techniques were considerably more advanced. Following two enormously successful collections, L’Estro Armonico Op.3 and La Stravaganza Op.4, published in direct accordance with the composer, Roger evidently felt it behoved him to take advantage of Vivaldi’s fame by publishing three collections hastily put together, in all probability without the composer’s supervision. This decision must have undermined his relationship with Vivaldi, however, because no more of his scores were offered for publication for the following five years. Something similar would seem to have taken place a decade later as well, around 1728–9, when Michel-Charles Le Cène, the publisher who had taken over the company, printed Il Cimento dell’Armonia e dell’Inventione Op.8 and La Cetra Op.9, along with three ‘small’ works consisting of Concertos for Flute (Op.10) and Violin (Opp. 11 and 12). As with the Opp. 5, 6 and 7 mentioned previously, here again the three collections were underwritten directly by the publisher, and printed without dedicatory epistles. Furthermore, they also comprised pieces that had been adapted or rearranged on the basis of earlier versions, especially the Flute Concertos Op.10. Clearly these publications, which reveal various differences of content, were more commercial in intent. An advertisement that appeared in the Gazette d’Amsterdam on 2 September 1729 suggests that Op.11 and Op.12 were published at pretty much the same time. Based on his studies of the extant copies and the stock listed in the publisher’s inventory, the Vivaldi scholar Rudolf Rasch has argued that the opera decima may also have been published in the same period. During the first two decades of the 18th century, German and French composers had written a great deal for the single-keyed flute, although this output was relegated to the sphere of chamber music and did not contemplate the concerto as such. In Italy, on the other hand, during the same period, composers largely focused on the recorder, until the instrument underwent a decline in the wake of the increasing presence of the transverse flute. Michael Talbot has argued that the first Venetian score for the flute was a serenade by Albinoni, composed around 1724, following the stay in Venice of the great virtuoso flautist Johann Joachim Quantz (1726), who may well have been

responsible for ousting the earlier instrument in favour of its more modern replacement. Vivaldi’s first use of the transverse flute dates back to 1727, when the virtuoso flautist Ignaz Sieber played the obbligato part in the glorious aria ‘Sol da te, mio dolce amore’ from Orlando furioso RV728. The following year Sieber was appointed maestro of the flute at the Ospedale della Pietà. Cesare Fertonani and Federico Maria Sardelli have argued that Op.10 may also have been the first printed collection of concertos for solo flute. That said, however, the compositions are not actually ‘original’, in the sense that five of the concertos had been composed a decade earlier in a chamber version with the recorder, and only one concerto (RV435 – Op.10 No.4) would seem to have been specially composed for the publication, given the fact that no earlier versions have come down to us. It could well be that Vivaldi had little time for composing new works in the period in which the publishing project came to the fore, but it is more likely that he opted to rely on works of proven success and quality that only required adapting and arranging. The first three concertos in the series, La tempesta di mare, La notte and Il gardellino, are versions that call for the flute accompanied by the oboe, the bassoon and the violin (two violins and a bassoon in the specific case of La notte), while the last two concertos, which derive directly from concertos RV 442 and 101, feature extensive use of thematic material from coeval or slightly earlier operas. Vivaldi’s interest in the transverse flute did not end with the collection, as a dozen or so other compositions reveal. A catalogue published in 1759 also lists four other pieces with evocative titles: La Francia, La Spagna, L’Inghilterra and Gran Mogol. It was the researcher Andrew Woolley who rediscovered this latter work in 2010, in the National Archives of Scotland in Edinburgh. The Op.10 marked an important development for the instrument and was evidently highly successful, given the fact that younger composers, including Hasse and Quantz himself, immediately began to focus their attention on the ‘new’ version of the flute. 훿 Federico Guglielmo Translation: Kate Singleton

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Mario Folena studied the flute in Padua with Clementine Hoogendoorn Scimone and the transverse flute with Marcello Castellani, obtaining his diploma with full marks and a special commendation. In 1978 he made his debut as a soloist, conducted by John Eliot Gardiner. He then attended masterclasses with Robert Donington, René Clemencic, Eduard Malkus and Jean-Pierre Rampal, and began working with various orchestras such as I Solisti Veneti, the Orchestre de chambre de Paris, I Filarmonici di Verona, the Accademia de li Musici, the Orchestra da Camera di Mantova, the Orchestra Filarmonia Veneta di Treviso, the Orchestra Internazionale d’Italia, L’Arte dell’Arco and the Orchestra dell’Accademia Nazionale di Santa Cecilia di Roma. He also played first flute in Novecento e oltre, the ensemble founded by Antonio Ballista. Since 1982 he has played first flute in the Orchestra di Padova e del Veneto, with which he performs regularly in concerts and as a soloist, touring throughout Europe, North Africa, the US, Latin America, Japan and Australia. As a soloist he is a regular guest performer at Italy’s foremost concert venues, also holding classes on historic transverse flutes (as part of the courses in early music organised by the Cini Foundation in Venice, as well as at the conservatoires of Padua and Parma).

Established in 1994, L’Arte dell’Arco has achieved international recognition for its concerts and recordings. The ensemble, based in Padua, consists of some of the best Italian musicians, all of whom have specialised in period-instrument performance playing with the most important European Baroque orchestras. The composition of the group varies from a small string ensemble to a full orchestra: depending on the demands of each programme, L’Arte dell’Arco can consist of anything from 3 to 30 musicians so that it can devote itself to a wide repertoire and continue to search for and re-evaluate forgotten works. L’Arte dell’Arco is regularly invited to important early music festivals and historic cultural venues. Its musicians perform today in all the famous European concert halls, as well as in North and South America, Japan and the Far East. The group has appeared with acclaimed artists such as Christopher Hogwood (who was the group’s guest conductor from 1997), Gustav Leonhardt and Pieter Wispelwey. Although the orchestra still invites guest conductors and soloists for some

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performances each year, its artistic director/concert master, Federico Guglielmo, has given it a very definite image. L’Arte dell’Arco has been particularly prolific in the recording studio, releasing CDs on the labels Deutsche Harmonia Mundi, Sony/BMG Classics, Chandos, Brilliant Classics, ASV, CPO, Stradivarius, Dynamic, Rai Trade and Musicaimmagine, all featuring works from the Italian Baroque repertoire. Since the release of its first recording, L’Arte dell’Arco has received prizes such as at the Premio Internazionale del Disco Antonio Vivaldi in Venice (1995, 1996), as well as critical acclaim from specialist classical music magazines (Diapason, Le Monde de la Musique, Repertoire, Gramophone, Classic CD, BBC Music Magazine, International Record Review, The Strad, Fanfare, American Record Guide, Fono Forum, Klassik Heute, Alte Musik Aktuell, Luister, Scherzo, Ritmo, The Record Gejiutsu, etc.) and the international press (The Times, The Daily Telegraph, The Irish Times, etc.). The Italian music magazines Amadeus, CD Classics, Orfeo and Classic Voice have featured L’Arte dell’Arco on their covers, with articles about unpublished recordings and interviews with Federico Guglielmo. In 1996 L’Arte dell’Arco embarked upon one of the most ambitious recording projects of the last decades: the complete recording of all Tartini’s concertos. The volumes were released on the Dynamic label to overwhelming international acclaim.

The Paduan violinist Federico Guglielmo is acclaimed by international critics for his ‘extraordinary versatility’ and ‘mature interpretive confidence’, views that are further confirmed by the appreciation garnered for his live performances and the prizes he has won for his numerous recordings. Winner of the Antonio Vivaldi International Recording Prize, he was hailed as ‘the new star of the ancient music landscape’ by the Boston Globe, while the French music magazine Diapason, which awarded him the Diapason d’Or for his recording of Vivaldi concertos, praised his ‘sparkling virtuosity which provides a cross section of everything of which the violin is capable’. His ‘brilliant and entertaining’ interpretation of Haydn’s Violin Concertos led the American critic Robert Maxham to write in Fanfare that ‘between Isaac Stern’s energetic approach to these works, those of celebrated Mozart interpreters like Szymon Goldberg and Arthur Grumiaux and the insightful explorations of Christian Tetzlaff seem like halfway houses on the journey to Guglielmo’s more full-blown re-creations. Those who admire Haydn’s concertos should be among the first to rush to acquire these performances, but everyone should join that rush sooner or later.’ Guglielmo’s international career began at just 22 when he won first prize in the Vittorio Gui Chamber Music competition in Florence; the same year, having won the national competition for teaching posts, he became the youngest professor of strings at an Italian conservatory, a post he still holds at the ‘Luigi Cherubini’ Conservatoire in Florence. As both a Baroque and Classical violin soloist and as a conductor he is regularly invited to perform by major ensembles worldwide. He led the renowned Academy of Ancient Music on tour

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in England, and was subsequently invited by groups such as The Handel & Haydn Society of Boston and the Tokyo Chamber Orchestra; his debut in Sydney with the Australian Brandenburg Orchestra was a sensational success, with his performances watched by over 10,000 spectators and recorded by ABC. The Daily Telegraph reported that ‘his ability to move from playing to conducting reminded us of the virtuosic players of the Baroque such as Vivaldi’, while the Sydney Morning Herald described his ‘superb technical ability demonstrated in the stratospheric passages at the very top of the fingerboard’. In 1994, together with his father, he formed the period instrument ensemble L’Arte dell’Arco, with whom he has performed in major European festivals and recorded more than 75 CDs for Deutsche Harmonia Mundi, Sony/BMG Classical, Chandos, CPO, Stradivarius, ASV Gaudeamus and Rai Trade. 2011 saw the publication of the final volume of the complete 30-CD set of Tartini’s 125 violin concertos for Dynamic, and the first volume of the new Vivaldi project (19 CDs of all his published works) for Brilliant Classics. Federico Guglielmo collaborates with musicians such as Bob van Asperen, Emma Kirkby, Monica Huggett and Dan Laurin. He has performed Bach’s violin concertos with conductor Gustav Leonhardt, Beethoven’s Violin Concerto with the Gran Canaria Philharmonic, conducted by Christopher Hogwood, and Franz Clements’s Violin Concerto with Reinhard Goebel (first European performance in modern times). He has taught Baroque violin in Italy, Brazil and Japan and for the New South Wales Conservatory in Australia. In addition to his solo work, Federico Guglielmo also has a great passion for chamber music. He is a member of the Stradivari Trio, which he founded in 1992, and he has played with musicians such as Pieter Wispelwey, Mario Brunello, Kathleen Battle, Hansjörg Schellenberger, Wolfram Christ and Michala Petri. Chamber music recordings include Brahms Piano Trios (Dynamic), Mozart Piano Trios (CPO), named as CD of the month by the German magazine Fono Forum, and Grieg Violin Sonatas (Decca). Federico Guglielmo was born in Padua in 1968. He obtained his diploma from the ‘B. Marcello’ Conservatory in Venice and then attended violin masterclasses with Salvatore Accardo, Vladimir Spivakov and Isaac Stern, chamber music masterclasses with the Beaux Arts Trio, the Trieste Trio, the Amadeus Quartet, the Quartetto Italiano and the LaSalle Quartet, and an orchestral conducting masterclass with Gianluigi Gelmetti. While still very young he was concertmaster for the principal Italian symphonic orchestras for ten years – a role he is still happy to perform occasionally

today with the Orchestra di Padova e del Veneto. He has also won several prizes in national (Vittorio Veneto) and international (Paris, London, Canada) competitions; since then he has regularly performed at the main concert halls such as the Großer Musikvereinsaal in Vienna, Wigmore Hall in London, Società del Quartetto in Milan, Accademia Santa Cecilia in Rome, Auditorio Nacional in Madrid, Herkulesaal in Munich, Isaac Stern Auditorium at Carnegie Hall in New York, Suntory Hall, Opera City and Bunka Kaikan in Tokyo, Izumi and Symphony Hall in Osaka, Teatro Colon in Buenos Aires and the City Recital Hall in Sydney. In his role as principal violin and leader of the string ensemble I Solisti Filarmonici Italiani, he has led concert tours every two years in Japan and the US since 1990, and has made more than 35 recordings for Denon Nippon Columbia. In the last few years he has concentrated more on conducting, including opera. He conducted the world premiere of Piccinni’s Il finto turco at the Teatro Olimpico in Vicenza (live broadcast by Rai Radio 3) and the first performance in modern times of Vivaldi’s Ottone in villa (recorded by Brilliant Classics); he was also responsible for the reworking of Domenico Scarlatti’s La Dirindina for MiTo/Settembre Musica. The CD of Handel’s Water Music (CPO) that he conducted was awarded ‘First Choice’ on BBC Radio 3’s Building a Library and was chosen as one of Gramophone’s ‘Recommended Recordings’ for its ‘splendid playing, involving and vibrant’.

Recording: 9–11 July 2014, Abbazia di Carceri d’Este, Padua, Italy Producer, recording engineer & editor: Fabio Framba L’Arte dell’Arco photo: 훿 Fabio Framba  2014 & 훿 2015 Brilliant Classics