![]() With Kopatchinskaja, it is rarely the sounds alone – a look of mystery into the church rafters after a particularly enigmatic phrase ending, the way she challenged Antonini with a look to begin the Vivaldi after the solo piece’s final gesture. It was part of a ploy as out of Vivaldi’s expertly constructed textures, themselves frothing with energy, came a rogue voice, a solo violin who settled into Enescu’s op. Kopatchinskaja sat at the back of the church, alone, for the first two movements but joined the group for the finale. The care that went into balancing of chords and textures was everywhere apparent, but it was the prevailing sense of endless energy that impressed, that drew the audience in. ![]() ![]() There was fire galore in the first movement of RV 157, but it was in the fragile imitations of an ascending, aspiring line in the second movement that trly iompressed. Antonini and Il Giardino Armonico, fierce defenders of Vivaldi (think of their own recording of the Seasons, or their work with Cecilia Bartoli) persuade us that tehre is real magic in thess scores – this one, at least. Vivaldi’s Concertos for Strings remain on the periphery of public awareness – the lack of a defined solo instrument when the composer’s most famous work, The Four Seasons, is most certainly for violin and strings. I have illustrated some of the piees below with the Alpha recordings. This concert certainly comes out of the same forces’ recording on the ever-pioneering Alpha label, What’s Next, Vivaldi?, released in September 2020. ![]() This melding of artists at the very top of their game resulted in one of the most memorable concerts to come from Gstaad: Saanen, to be absolutely accurate, a beautiful little church on a hill: Kirche Saanen, photo © Raphael Faux ![]()
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