- Antonio Vivaldi (b. 1678 - d. 1741)
- Composition Year
- Work Movements
- Kate Hearne [recorder], Albrecht Kühner [violin], David Maria Gramse [violin], Bram Van Sambeek [bassoon]
|Composer||Antonio Vivaldi (b. 1678 - d. 1741)|
|Work Title||Chamber concerto in D major for recorder, violin and bassoon RV 92|
|Artist(s)||Kate Hearne [recorder], Albrecht Kühner [violin], David Maria Gramse [violin], Bram Van Sambeek [bassoon]|
|Performance Date||Thursday 4th July 2013|
|Performance Venue||St. Brendan's Church, Bantry, Co Cork, Ireland|
|Recording Engineer||Damian Chennells, RTÉ lyric fm|
|Instrumentation Category||Small Mixed Ensemble
|Instrumentation||rec, vn, lu, bn|
|Programme Note Writer||© Kate Hearne|
RV 92 is one of only two chamber concertos in which Vivaldi includes no continuo part, instead choosing to have a concertante bassoon alone on the bass line. This was quite a bold and avant-garde move on Vivaldi’s part, but he manages to get away with it by giving us suggestions of the harmonic movement through the florid bass line. It is clear at first glance that this work could simply be called a ‘trio’, but the form is such that Vivaldi categorises it as a concerto, sticking to the three-movement plan, and including ritornello passages in the two outer movements.
Throughout the work, the violin and recorder vie with each to prove their solo status, during the first movement underpinned by a fast moving, restless bass line. The middle movement is a sweet coming together of the two upper instruments, once again proving Vivaldi to be a supreme melody writer, expressing himself simply, but beautifully. The third movement opens with a playful imitative dialogue between the violin and recorder in a theme which reoccurs throughout the movement giving us our ritornello form as suggested in the title. The sparkling ritornello interrupts solo passages which attempt to redirect the music into somewhat deeper territory. These mediatory passages allow both the recorder and violin to emerge as soloists, while the bassoon motors along in what could be considered one of the most elaborate and interesting bass lines written by Vivaldi for any of his chamber concertos.