2002년 내한공연을 통해 바로크 바이올린 하나만으로 관객을 압도하는 밀도 높은 연주를 선보였던 레이첼 포저가 비발디의 독주 바이올린을 위한 협주곡집 작품 4번[라 스트라바간차]를 녹음하였다..
변함 없이 꽉 들어찬 정확하고 완벽한 구조미를 갖추고 있으면서도 비발디의 유머감각과 아름다운 선율미를 놓치지 않고 명쾌하게 전체 분위기를 유지하고 있습니다..
비발디는 바로 이렇게 연주하는 것이다..!!
[수록곡]
Antonio Vivaldi
La Stravaganza
CD 1
Concerto in B flat, opus 4 no.
1 1 Allegro 2.52
2 Largo e cantabile 2.11
3 Allegro 2.25
Concerto in E minor, opus
4 no. 2 4 Allegro 4.03
5 Largo 3.05
6 Allegro 2.51
Concerto in G major, opus 4 no. 3
7 Allegro 2.39
8 Largo 2.27
9 Allegro assai 2.49
Concerto in A minor, opus 4 no. 4
10 Allegro3.04
11 Grave e sempre piano 2.39
12 Allegro 2.19
Concerto in A major, opus 4 no. 5
13 Allegro 3.35
14 Largo 2.35
15 Allegro 3.02
Concerto in g minor, opus 4 no. 6
16 Allegro 2.30
17 Largo 3.10
18 Allegro 3.42
CD 2
Concerto in C major, opus 4 no. 7
1 Largo 2.02
2 Allegro 2.00
3 Largo 1.36
4 Allegro 1.50
Concerto in D minor, opus 4 no. 8
5 Allegro 1.32
6 Adagio-Presto-Adagio 2.22
7 Allegro 3.00
Concerto in F major, opus 4 no. 9
8 Allegro 2.45
9 Largo 2.00
10 Allegro 2.04
Concerto no. 10 in C minor, opus 4 no. 10
11 Spirituoso 3.03
12 Adagio 3.25
13 Allegro 2.38
Concerto in D major, opus 4 no. 11
14 Allegro 2.43
15 Largo 3.13
16 Allegro assai 1.47
Concerto in G major, opus 4 no. 12
17 Spirituoso e non Presto 2.42
18 Largo 2.52
19 Allegro 3.34
Rachel Podger, violin
Arte dei Suonatori
Immersing myself in the 12 Concertos of ‘La Stravaganza’ was an intense and exhilarating experience, and one which has left me full of wonder at Vivaldi’s seemingly endless capacity for invention. Having had many opportunities to get to know his music ever since I started playing the violin (the well-loved A minor Concerto from L’estro Armonico is one of the set pieces in Suzuki’s violin method and played by most 6-10 year olds!), the Seasons and L’estro featuring strongly in baroque concert programmes, it was with interest but also a number of pre-conceptions that I approached these relatively obscure concertos. I rather arrogantly assumed I’d have to put my mind to making them sound as different from each other as possible, as they probably wouldn’t assert their own character within the set by themselves. I’m ashamed of that thought now, since I quickly realised that I wasn’t dealing with ‘samey’ music at all, but with extreme inventiveness within a definite framework. Vivaldi uses melodic figurations in so many remarkable ways. It’s as though he likes to experiment with every possible variant and push the players beyond expectation of what might be coming next. Having said that, the most predictable comment about his music is that his music is predictable! But listen, for example, to the last movement of Concerto no.1, where we see him first setting up a simple phrase, experimenting with the opening figure (first 2 bars) in minimal ways, taking us unexpectedly (unpredictably!) into a new key just when we expect the solo part to take charge. For 111 bars he lets his imagination run riot with this very simple opening figure, transforming it and avoiding any obvious phrasing that the listener might assume. This way, he creates a wonderful spirit of exploration in the music. Fragments of figurations are often thrown from one part to the next in the orchestra, later making up a whole phrase. Vivaldi also uses very simple tools by, for instance, making the tune leap across the two violin parts: there is an ascending triadic figure which goes to-and-fro between the fiddles as a variation on a similar tune heard earlier in a single part within the orchestra (Concerto no.3, first movement). His citing of a tune, repeating it twice note-by-note and then changing it at the last minute is often both witty and clever (like in Concerto no.5, firs
