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Concerto in D major RV.95 ‘La Pastorella’

Antonio Vivaldi (b. 1678 - d. 1741)

Kate Hearne (photo credit: Maria Neumuller)

Kate Hearne (photo credit: Maria Neumuller)

Composer
Antonio Vivaldi (b. 1678 - d. 1741)
Composition Year
1716
Work Movements
1. Allegro
2. Largo
3. Allegro
Artists
Malcolm Proud [harpsichord], Bram Van Sambeek [bassoon], Nicolas Daniel [oboe], Bartosz Woroch [violin], Kate Hearne [recorder]

Programme Note Writer:
© Kate Hearne

Notwithstanding a number of refined and virtuosic appearances, the recorder, in Baroque times, was thought of as a naïve and simple instrument. It is therefore no coincidence that Vivaldi chooses this sweet flute, the flauto dolce, to conjure up an image of the lowly Shepherdess in his joyful and charming chamber concerto, La Pastorella. The recorder is joined by the violin, oboe, bassoon and harpsichord; a combination that particularly appealed to Vivaldi.

This work is one of only four chamber concerti to which Vivaldi gives a descriptive title, all referring mainly to the mood of the piece, and in many ways similar to the musical narratives of his Op.8 solo concerti for violin, which include The Four Seasons. Amid this kaleidoscope of descriptive works, La Pastorella has the task of appealing to the Arcadian aesthetic by representing the pastoral idiom, and from the first note Vivaldi succeeds in drawing his listeners in to a sweetly stylised rustic world.

Unlike the modern perception of what a concerto should be, Vivaldi used the word liberally, and for every conceivable combination of instruments. The one thing these works have in common is the cyclical three-movement structure, the outer movements always alternating between solo and tutti, in this case the recorder and bassoon being the solo instruments of choice. In the largo, Vivaldi drops the tutti altogether, leaving a bare and beautiful duo, which demonstrates his abilities as perhaps one of the most proficient melody writers of his time.

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Concerto in D major RV.95 ‘La Pastorella’

Composer: Antonio Vivaldi (b. 1678 - d. 1741)
Performance date: Sunday 27th June 2010
Venue: St. Brendan's Church, Bantry, Co Cork, Ireland

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Composer Antonio Vivaldi (b. 1678 - d. 1741)
Work Title Concerto in D major RV.95 ‘La Pastorella’
Composition Year 1716
Work Movements 1. Allegro
2. Largo
3. Allegro
Artist(s) Malcolm Proud [harpsichord], Bram Van Sambeek [bassoon], Nicolas Daniel [oboe], Bartosz Woroch [violin], Kate Hearne [recorder]
Performance Date Sunday 27th June 2010
Performance Venue St. Brendan's Church, Bantry, Co Cork, Ireland
Event Coffee Concert
Duration 00:09:05
Recording Engineer Anton Timoney, RTÉ lyric fm
Instrumentation Category Small Mixed Ensemble
Instrumentation rec, vn, ob, bn, hpd
Programme Note Writer © Kate Hearne

Notwithstanding a number of refined and virtuosic appearances, the recorder, in Baroque times, was thought of as a naïve and simple instrument. It is therefore no coincidence that Vivaldi chooses this sweet flute, the flauto dolce, to conjure up an image of the lowly Shepherdess in his joyful and charming chamber concerto, La Pastorella. The recorder is joined by the violin, oboe, bassoon and harpsichord; a combination that particularly appealed to Vivaldi.

This work is one of only four chamber concerti to which Vivaldi gives a descriptive title, all referring mainly to the mood of the piece, and in many ways similar to the musical narratives of his Op.8 solo concerti for violin, which include The Four Seasons. Amid this kaleidoscope of descriptive works, La Pastorella has the task of appealing to the Arcadian aesthetic by representing the pastoral idiom, and from the first note Vivaldi succeeds in drawing his listeners in to a sweetly stylised rustic world.

Unlike the modern perception of what a concerto should be, Vivaldi used the word liberally, and for every conceivable combination of instruments. The one thing these works have in common is the cyclical three-movement structure, the outer movements always alternating between solo and tutti, in this case the recorder and bassoon being the solo instruments of choice. In the largo, Vivaldi drops the tutti altogether, leaving a bare and beautiful duo, which demonstrates his abilities as perhaps one of the most proficient melody writers of his time.