Concerto Di Amsterdam by Combattimento Consort Amsterdam

Combattimento Consort Amsterdam

Concerto Di Amsterdam

Format: CD
Label: Challenge Classics
UPC: 0608917211528
Catnr: CC 72115
Release date: 24 September 2002

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1 CD
		Hi-res download at Spirit of Turtle

Label
Challenge Classics

UPC
0608917211528

Catalogue number
CC 72115

Release date
24 September 2002

Album

Artist(s)

Composer(s)

About the album

On this album the Combattimento Consort Amsterdam plays works by Vivaldi. The title of this album refers to the first work on this recording, the concerto grosso in D Major, RV 526a.

Concerto Grosso à 10 Stromenti in D Major 'Concerto di Amsterdam', RV 526a

Sinfonia nell'Opera l'Olimpiade, RV 725

This sinfonia is from the opera l'Olimpiade which premiered in Venice in 1734. L'Olimpiade was one of Metastasio's finest texts, and was set innumerable times in the eighteenth century. The plot comes from the story of The Trial of the Suitors, found in the sixth book of the Historiae of Herodotus. The love entanglements in the tale were aptly suited to the tastes of eighteenth-century audiences, who nightly went to the theater to see lovers misunderstand one another and become reconciled. In this story, the nobility of two women triumphs over tensions caused when two men fall in love with the same leading lady. The plot is both heroic and pastoral, and Metastasio plans for a good deal of entertaining spectacle distributed throughout the opera.

Violin Concerto 'In Due Cori' in B-Flat Major, RV 583

Vivaldi's RV 583 is a work of Italianate pomp. Its length, and the wealth of ornamentation that Vivaldi wrote into the soloist's part suggests that he was trying to impress someone important.

Sinfonia in B Minor 'Al Santo Sepolcro', RV 169

Violin Concerto in D Major 'Il Grosso Mogul', RV 208

This exuberant violin concerto entitled “Grosso Mogul” is probably from the late 1710s. Vivaldi experts puzzle over the significance of its title. “Grand Mogul” refers to the contemporary ruler of India or his territory, but this is not a descriptive concerto. It was probably played by Vivaldi during the performance of an opera set in India. Like a few other “theatre” concertos, it has demanding cadenzas in each of the outer movements…
This D major Concerto offers a wonderful opportunity for “extreme” violin-playing, particularly in its long, fully written-out cadenzas. It has nearly the same name as a Vivaldi flute concerto (“Il Gran Mogol”) that came to light only recently in the National Archives of Scotland, but is an entirely unrelated work.

Violin Concerto in D Minor, 'Senza Cantin', RV 243

RV 243 is called "Senza cantin" because it requires the soloist to omit using the highest string on his or her instrument, the E string. This is of consequence because it compels the soloist to play very high up on the A string, which creates a distinctive timbre, as well as its own set of technical issues. In the opening movement one hears unusual and beguiling harmonies and chord progressions.

Symfonieën en vioolconcerten van Vivaldi gespeeld door het Combattimento Consort Amsterdam
Op dit album worden meerdere werken van Antonio Vivaldi uitgevoerd door het Combattimento Consort Amsterdam met Gordan Nikolitch op viool. Het album geeft een mooi inzicht in het veelzijdige orkest oeuvre van Vivaldi.

Concerto Grosso à 10 Stromenti in D major RV562
Sinfonia (from L'Olimpiade) RV725
Concerto per violino In Due Cori
Sinfonia in B minor, RV169 'Al Santo Sepolcro'
Concerto for Violin Il Grosso Mogul in D major RV 208
Concerto senza cantin for violin, strings & continuo in D minor, RV243

HIer worden zowel stukken gespeeld zonder een duidelijk programma, zoals het Concerto Grosso à 10 Stromenti in D Majeur en het Vioolconcert In Due Cori, als werken die gebaseerd zijn op een tekst, zoals Sinfonia nell'Opera l'Olimpiade. Wat de titel van het Vioolconcert Il Grosso Mogul betekent is onbekend. 'Grand Mogul' verwijst naar de toenmalige heerser van India, maar dit vioolconcert vertelt voor zover bekend geen verhaal. Het meest waarschijnlijke is dat Vivaldi het concert speelde tijdens een uitvoering van een opera die zich in India afspeelde.
In elk van deze concerten kan Gordan Nikolitch zijn virtuositeit tonen. Zijn extreme technische vaardigheid en de expressie zijn indrukwekkend.

Het Combattimento Consort Amsterdam was een muziekensemble dat zich richtte op muziek tussen 1600 en 1800. In tegenstelling tot veel ensembles voerden zij deze oude muziek niet uit op historische instrumenten, maar op moderne instrumenten vanuit de overtuiging dat de klanken hiervan beter aansluiten bij de smaak en gewenning van de luisteraars. Het ensemble is in 2014 niet helemaal gestopt, maar heeft zijn activiteiten voortgezet in een nieuwe samenstelling onder de naam Combattimento.

Artist(s)

Combattimento Consort Amsterdam

Over the past 30 years, Combattimento Consort Amsterdam has established a strong national and international reputation. The ensemble is famous for the high quality and energy of its performances. That, together with its varied and often surprising and unfamiliar repertoire, for formations ranging from chamber ensemble to chamber orchestra, and from oratorios to operas, has made it one of the most successful Baroque ensembles in the world. The Combattimento Consort’s roughly 60 performances a year are distinguished by the originality of the ensemble’s presentation, led by one of the trend-setting conductors in Dutch musical life, Jan Willem de Vriend, who in November 2012 received the Radio 4 Prize. The Combattimento Consort has gone on a number of tours in recent years...

Over the past 30 years, Combattimento Consort Amsterdam has established a strong national and international reputation. The ensemble is famous for the high quality and energy of its performances. That, together with its varied and often surprising and unfamiliar repertoire, for formations ranging from chamber ensemble to chamber orchestra, and from oratorios to operas, has made it one of the most successful Baroque ensembles in the world. The Combattimento Consort’s roughly 60 performances a year are distinguished by the originality of the ensemble’s presentation, led by one of the trend-setting conductors in Dutch musical life, Jan Willem de Vriend, who in November 2012 received the Radio 4 Prize.
The Combattimento Consort has gone on a number of tours in recent years to Germany, Spain, Central Europe, South America, Japan, Russia and the United States. It has recorded more than 35 CDs and DVDs – this year, its CD of Handel’s Concerto Grossi op. 6 will be released. The ensemble has worked with prominent soloists such as Barbara Bonney, Andreas Scholl and Sol Gabeta, Thomas Zehetmair and Sabine Meyer, as well as with the Netherlands Chamber Choir, the Nationale Reisopera and Cappella Amsterdam. The spearhead of its artistic direction is the performance of unfamiliar and as yet unpublished repertoire. Innumerable searches through libraries, churches and cloisters over the past 30 years have resulted in a notable collection of remarkable performances. In 2007, for example, Combattimento Consort Amsterdam presented Arminio, the only surviving opera of Heinrich Ignaz Franz von Biber. Over the years, it has developed a distinctive style of playing, which has even come to be known as the “Combattimento School” of performance. Recognizable and energetic, inventive, style-conscious and inspiring. The ensemble presents itself as a “consort”, but with the visibility of the “individual”. Jan Willem de Vriend leads the Combattimento Consort from the “first chair”, appearing as a conductor only in the larger productions (operas and oratorios). The instrumental soloists are in most cases members of the ensemble.

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Jan Willem de Vriend

Jan Willem de Vriend is the artistic director of Combattimento Consort Amsterdam and since 2006 the chief conductor and artistic director of the Netherlands Symphony Orchestra. Combattimento Consort Amsterdam devotes itself to the music of about 1600 to 1830. Since its founding in 1982, it has performed virtually throughout the world as well as on many CDs, DVDs and television productions. Since De Vriend was named chief conductor in 2006, the Netherlands Symphony Orchestra has become a notable phenomenon on the Netherlands’ musical scene. It has presented semi-scenic performances of works by Mozart, Beethoven, Strauss and Mendelssohn. There were premieres of works by Offenbach, Say and Mahler. And by substituting historical instruments in the brass section, it has developed its own distinctive...

Jan Willem de Vriend is the artistic director of Combattimento Consort Amsterdam and since 2006 the chief conductor and artistic director of the Netherlands Symphony Orchestra.
Combattimento Consort Amsterdam devotes itself to the music of about 1600 to 1830. Since its founding in 1982, it has performed virtually throughout the world as well as on many CDs, DVDs and television productions.
Since De Vriend was named chief conductor in 2006, the Netherlands Symphony Orchestra has become a notable phenomenon on the Netherlands’ musical scene. It has presented semi-scenic performances of works by Mozart, Beethoven, Strauss and Mendelssohn. There were premieres of works by Offenbach, Say and Mahler. And by substituting historical instruments in the brass section, it has developed its own distinctive sound in the 18th- and 19th-century repertoire. Recently, the orchestra performed music by Schumann at festivals in Spain. The release of Beethoven’s complete symphonies, conducted by De Vriend, is a big project which starts with the release of this current CD. Also the orchestra's long Mahler tradition is being continued in recordings and tours.
De Vriend has been a guest conductor with the Netherlands Radio Philharmonic Orchestra, the Netherlands Radio Chamber Philharmonic, the Netherlands Philharmonic Orchestra, The Hague Philharmonic and the Royal Concertgebouw Orchestra, as well as orchestras in Germany, Sweden and Australia. He is often invited to conduct both in the Netherlands and abroad. He has engagements pending, for example, with The Hague Philharmonic, the Royal Concertgebouw Orchestra as well as orchestras in China, Germany, Austria and Italy.

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Gordan Nikolitch

Zeven was Gordan Nikolić (1968, Servië) toen hij begon met vioolspelen. Twee jaar later al stuurden zijn ouders het talent naar een internaat voor vioolles. Vijf dagen per week. 'Het was streng maar wij hadden dit ene geweldige ding: muziek. Het is als opgroeien in een kerk voor wie in God gelooft. Daar ligt de oorsprong van mijn intimiteit met de muziek.' Nikolić vervolgde zijn studie bij de bekende Franse violist en dirigent Jean-Jacques Kantorow aan de Musikhochschule van Basel. Hij verdiepte zich in barokmuziek, maar werkte ook samen met Lutoslawski en Kurtág, omdat ook de hedendaagse muziek hem fascineert.   Zijn eerste aanstelling als concertmeester kreeg de nog jonge violist in 1989. Nikolić' carrière raakte vanaf dat moment in een...

Zeven was Gordan Nikolić (1968, Servië) toen hij begon met vioolspelen. Twee jaar later al stuurden zijn ouders het talent naar een internaat voor vioolles. Vijf dagen per week. "Het was streng maar wij hadden dit ene geweldige ding: muziek. Het is als opgroeien in een kerk voor wie in God gelooft. Daar ligt de oorsprong van mijn intimiteit met de muziek." Nikolić vervolgde zijn studie bij de bekende Franse violist en dirigent Jean-Jacques Kantorow aan de Musikhochschule van Basel. Hij verdiepte zich in barokmuziek, maar werkte ook samen met Lutoslawski en Kurtág, omdat ook de hedendaagse muziek hem fascineert.   Zijn eerste aanstelling als concertmeester kreeg de nog jonge violist in 1989. Nikolić' carrière raakte vanaf dat moment in een stroomversnelling, ook als solist. Hij werkte met tal van orkesten in Europa en kon prijs na prijs op zijn schoorsteenmantel zetten. In 1997 werd hij benoemd tot concertmeester van het London Symphony Orchestra, waar hij een bijzondere band ontwikkelde met Sir Colin Davis. Van deze maestro leerde hij hoe belangrijk het is om een eigen muzikale visie te bewaren. Om je niet te onderwerpen aan andermans autoriteit. "Als wij ooit eindigen door te praten op dezelfde manier, dan hebben wij verloren. Dus jij zegt wat je moet zeggen, ik zeg wat ik heb te zeggen, en dan komt er een brug", vertelt Davis hem. Woorden die hij nooit meer vergeet.     In 2000 wordt Gordan Nikolić benoemd tot professor aan het Royal College of Music en drie jaar later ook aan de Guildhall School of Music. Als hij in 2004 naar het Nederlands Kamerorkest komt, gaat hij bovendien doceren aan het Rotterdams Conservatorium. De musici zijn er geweldig gelukkig mee hoe deze topviolist het kamerorkest op zijn unieke wijze leidt vanaf de eerste lessenaar. Tijdens concerten neemt hij met zijn begeesterende beweeglijkheid niet alleen de orkestleden mee, maar de hele zaal. Nikolić speelt op een Lorenzo Storioni viool uit 1794.

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Composer(s)

Antonio Vivaldi

Antonio Lucio Vivaldi was an Italian Baroque composer, virtuoso violinist, teacher and cleric. Born in Venice, he is recognised as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as The Four Seasons. Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi (who had been ordained as a Catholic priest) was employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some...

Antonio Lucio Vivaldi was an Italian Baroque composer, virtuoso violinist, teacher and cleric. Born in Venice, he is recognised as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as The Four Seasons.
Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi (who had been ordained as a Catholic priest) was employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for preferment. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died less than a year later in poverty.

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