Antonio Vivaldi (1678-1741)
Concerto n° 1 en do pour violon, cordes et basse continue, op. 9, RV 181a
Concerto n° 2 en la pour violon, cordes et basse continue, op. 9, RV 345
Concerto n° 3 en sol mineur pour violon, cordes et basse continue, op. 9, RV 334
Concerto n° 4 en mi pour violon, cordes et basse continue, op. 9, RV 263a
Concerto n° 5 en la mineur pour violon, cordes et basse continue, op. 9, RV 358
Concerto n° 6 en la, pour violon, cordes et basse continue, op. 9, RV 348
Concerto n° 7 en si bémol pour violon, cordes et basse continue, op. 9, RV 359
Concerto n° 8 en ré mineur, pour violon, cordes et basse continue, op. RV 238
Concerto n° 9 en si bémol majeur pour 2 violons, cordes et basse continue, op. 9, RV 530
Concerto n° 10 en sol majeur pour violon, cordes et basse continue, op. 9, RV 300
Concerto n° 11 en do mineur pour violon, cordes et basse continue, op. 9, RV 530
Concerto n° 12 en si mineur, pour violon, cordes et basse continue, op. 9, RV 391

Roberto Loreggian, clavecin
Davide Pozzi, orgue de chambre
Flora Papadopoulos, harpe
Michele Pasotti, théorbe, guitare baroque
L'Arte dell'Arco
Federico Guglielmo, violon, direction

Federico Guglielmo and his superb ensemble L’Arte dell’Arco return with more Vivaldi delights, this time treating us to La cetra, a collection of 12 concertos. Most are for violin solo but one includes a second solo violin. Additionally, there is the fascinating inclusion of two concertos ‘con violin scordato’ – literally, a violin wrongly tuned; not an uncommon practice at the time. The collection, dedicated to Charles VI, Holy Roman Emperor, is called ‘la cetra’ after a cittern, or lyre. Not only does this indicate something of the sparkling string playing in the solo parts but it was also associated with the Hapsburg coat of arms, a nod to the dedicatee of the collection. Although not as well known as some of Vivaldi’s other collections, such as La stravaganza or Il cimento dell’armonia e dell’inventione, La cetra still has much to offer the listener. Vivaldi’s writing is as strong as in his other sets, as he moves into his late style. Not as adventurous as Op.8, he is nevertheless eclectic; some of the fast movements seem to be influenced by vocal lines, as the return to the tonic after a brief modulation occurs abruptly, similar to a da capo aria. The slow movements contain some vibrant cantabile moments. The collection as a whole foreshadows the Classical period; the pizzicato section of the Concerto No.10 would also be utilised by Haydn in his symphonies. L’Arte dell’Arco is distinguished by its small size, with just one or two players per part. This allows for the transparency Vivaldi intended; each line has its moment, while the solo violin soars confidently above. Guglielmo is an experienced performer of Vivaldi’s works; his complete collection of the Prete Rosso’s Opp.1–12 was released on Brilliant Classics in February 2016 (BC95200).