Post Description

These performances of Vivaldi's La Stravaganza - a collection of 12 violin concertos - are truly extravagant.  They're not designed to be listened to in one sitting and shouldn't be: it's not the sameness of the orchestration which might get in the way, it's the intensity with which Vivaldi composed them and the manner in which the remarkable Rachel Podger plays them.  Fans of Andrew Manze will love Podger for similar reasons. 

Booklet Notes 

Immersing myself in the 12 Concertos of ‘La Stravaganza' was an intense and exhilarating experience, and one which has left me full of wonder at Vivaldi's seemingly endless capacity for invention. Having had many opportunities to get to know his music ever since I started playing the violin (the well-loved A minor Concerto from L'estro Armonico is one of the set pieces in Suzuki's violin method and played by most 6-10 year olds!), the Seasons and L'estro featuring strongly in baroque concert programmes, it was with interest but also a number of pre-conceptions that I approached these relatively obscure concertos. I rather arrogantly assumed I'd have to put my mind to making them sound as different from each other as possible, as they probably wouldn't assert their own character within the set by themselves. I'm ashamed of that thought now, since I quickly realised that I wasn't dealing with ‘samey' music at all, but with extreme inventiveness within a definite framework. Vivaldi uses melodic figurations in so many remarkable ways. It's as though he likes to experiment with every possible variant and push the players beyond expectation of what might be coming next. Having said that, the most predictable comment about his music is that his music is predictable! But listen, for example, to the last movement of Concerto no.1, where we see him first setting up a simple phrase, experimenting with the opening figure (first 2 bars) in minimal ways, taking us unexpectedly (unpredictably!) into a new key just when we expect the solo part to take charge. For 111 bars he lets his imagination run riot with this very simple opening figure, transforming it and avoiding any obvious phrasing that the listener might assume. This way, he creates a wonderful spirit of exploration in the music. Fragments of figurations are often thrown from one part to the next in the orchestra, later making up a whole phrase....