What’s next Vivaldi? Patricia Kopatchinskaja (violin), Il Giardino Armonico, Giovanni Antonini Outhere/Alpha ALPHA624. 70’56
If you manage to get past the unremitting frenzy of the opening Vivaldi La Tempesta di Mare Concerto there is a chance that you might be able to appreciate the rest of this extraordinary recording. Violinist Patricia Kopatchinskaja has been described as an “irresistible force of nature: passionate, challenging and totally original in her approach”, in the citation for her 2014 Royal Philharmonic Society award as Instrumentalist of the year). When combined with the energy of Il Giardino Armonico the result is potent.
Vivaldi: Concerti per Flauto
Giovanni Antonini, Il giardino armonico
Outhere/Alpha 364. 59’45
Concerto in do maggiore per flautino, RV 444 Concerto in fa maggiore per flauto, RV 433 La Tempesta di Mare Concerto in do maggiore per flautino, RV 443 Nisi Dominus per chalumeau, RV 608 Cum dederit Concerto in do minore per flauto, RV 441 Concerto in la minore per flautino, RV 445 Concerto in fa maggiore per flauto, RV 442 Tutti gl’istromenti sordini
Giovanni Antonini is both the recorder soloist and the director of his own group, Il giardino armonico. With many Vivaldi recordings under their belt, this CD selects six Concertos for recorder and contrasts those with an arrangement of a movement from the Nisi Dominus for chalumeau, a forerunner of the clarinet. Continue reading →
La Morte Della Ragione ‘The Death of Reason’ Il Giardino Armonico, Giovanni Antonini Outhere Music. ALPHA 450. CD Book. 73’07
La Morte della Ragione (The Death of Reason) is the sort of recording that may require you to put on a seat belt before listening. Under the banner of Petrarch’s comment that “Senses reign, and Reason is dead” Il Giardino Armonico take us on a whistlestop tour through a sizeable chunk of early music history. The choice of descriptor is deliberate, as it is also very obviously a showcase for the virtuoso recorder playing of director Giovanni Antonini, which dominates much of the programme and comes vey close to be too clever by half.
La Morte della Ragione Il Giardino Armonico, Giovanni Antonini Outhere Music: Alpha ALPHA450. 73’07
La Morte della Ragione (The Death of Reason) is a concept album (CD and a 98-page illustrated book) based around Petrarch’s comment that The senses reign, and Reason now is dead’. It is also a clearly intended as a showcase for the virtuoso recorder playing of Giovanni Antonini, founder of Il Giardino Armonico. After an opening recorder flourish we hear the anonymous 16th-century pavane, La Morte della Ragione. This is seen as a reference to toErasmus‘s In Praise of Folly, and his suggestion of two forms of madness – a sweet illusion of the spirit and the opposite, ‘one that the vengeful Furies conjure up from hell.
A wide-ranging set of scenarios are offered, ranging in date from John Dunstable (1390-c1453), via the likes of Alexander Agricola (1446-c1506), to Samuel Scheidt (1587-1654), whose Galliard Battaglia concludes the CD. a battle piece involving a great many diminutions or ‘divisions’, a common technique of improvisation in the Renaissance… This grand instrumental musical fresco of time and space is a kind of self-portrait of Giovanni Antonini and his longstanding musical colleagues. To accompany this disc, a richly-illustrated booklet presents a free-ranging iconographical tour combining pictures and contemporary photos.
Serpent and Fire
Il Giardino Armonico, Anna Prohaska Royal Albert Hall. 2 August 2018
Serpent and Fire is probably a better concert title that ‘Two Suicidal African Queens’, but Anna Prohaska’s exploration of the musical characters of Dido and Cleopatra certainly delved the emotional issues that caused both Queen’s demise. Despite her plea to ‘forget my fate’, Dido’s end is etched in all music-lovers minds, and it closed this late-night BBC Prom. Purcell’s Ah! Belinda providing the opening, introducing the Anna Prohaska’s beautifully clear and pure voice, and her use of the gentlest of vocal inflexions, quite correctly, as an ornament, for which I will readily forgive her the occasional tendency to slightly slur notes together. She later joined the very rare catalogue of early music singers who can produce a proper trill, rather than just relying on vibrato. The curious pauses in Ah! Belinda were the first of a number of directorial oddities provided by conductor Giovanni Antonini.