Dorothee Oberlinger plays Vivaldi Concerto RV 312R (3rd movement)

Описание: Dorothee Oberlinger plays Vivaldi Concerto RV312R in G major (3rd movement Allegro)
(reconstruction by Jean Cassignol after RV 312)
-------
CD marc aurel edition MA 20015
ensemble ornamente 99 - Anton Steck, violino I
recorded May 2001
-------

-------
Is RV 312 Vivaldi’s 4th Concerto for flautino?
.
The manuscript of Vivaldi’s flautino concertos
In all likelihood the flautino can be identified in the three authentic concertos RV 443, 444 and 445 as a sopranino recorder in f2. The instrument is certainly not a piccolo, for the dessus de flûte traversière is presumably an instrument of French provenance – the existence of which is confirmed in 1740 by Corrette in Paris – and not widely used in Italy. The considerable virtuosity demanded of the performer includes arpeggiated chords, rapid runs and embellishments characteristic of violin technique more than that of a woodwind player. Though a virtuoso performer has been identified at the Pietà, one Luciet(t)a (dal) traversiè, born in 1707, she played a different instrument.
.
The reconstructed concerto RV 312R
Vivaldi appears to have vacillated over what instrument he wanted to write his G major concerto for, several times crossing out and changing the instrument name in the work’s title: though difficult, it is possible to make out the word flautino next to the word violino when viewing the manuscript at the Biblioteca Nazionale in Turin. On the palimpsest of this authentic three-movement violin concerto, RV 312, the first movement includes the erased sketch of an earlier flautino concerto, which was apparently considered unplayable by a soloist from 1728–1729 and prompted Vivaldi to compose new solo sections for a violino principale without making the crossed out flautino parts “illegible”. These “ossia” passages are found in these measures of the first movement (see the solo part):
Bars 35–37: The measures for the flautino are of greater musical merit than the definitive version for violin.
Bars 41–45: These triplets also sound more beautiful than the corresponding emendation for violin, but if played in the tempo notated (Allegro molto), the passage places very severe demands on recorder players, who will immediatly recognize bars 79–82 in the first movement of the concerto RV 445, although transposed a step higher in the original RV312!
Indeed, Vivaldi’s transition to the violin part is only completely successful in the THIRD movement, as the first two movements are unnecessarily or artificially difficult to play in G major on the violin. Here are some examples:
1st movement: Due to his flautino color, the rapid runs in bars 53–56 are 'bizzarri' when the figures are performed on the violin.
2nd movement: Staccato sautillé is VERY RARELY notated for the violin in slow movements and NEVER on 12 notes in succession (bars 16 and19)....
Evidence like this indicates that THE FIRST TWO MOVEMENTS WERE INTENDED FOR THE FLAUTINO and only partially modified by Vivaldi
for the violin, perhaps by copying the movements from a first manuscript no longer extant today.
Our adaptation makes it possible for interested recorder and flute players to perform this reconstructed concerto, now available in C, D and F major. Editions for flautino and piano at Heinrichshofen & Noetzel (Germany).
.
Jean Cassignol (reconstructeur of RV 312R)