Recorder Player Anna Fusek

VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT

The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This renowned period instrument ensemble, elegantly clad in black and always standing, took a journey to early 18th century Venice through Vivaldi’s music.

The Sinfonia in G commenced the evening with a first a burst of energy, then lyrical lines juxtaposed with leaps and trills, clear unisons and phrases always subtly shaped and shaded. This joyous mood was followed by a plaintive movement, almost sad and resigned which in turn led to a jolly folk dance movement full of flourishes and surprising twists.

The next piece was one of the numerous Vivaldi concertos, this one a double concerto in d minor for violin (Gianpiero Zanocco) and recorder player Anna Fusek. Sections of allegro were followed by largos with many contrasting themes and echoes. The dissonances were exquisite as always in Vivaldi’s compositions. Pulsing basses phrases made sweeping statements, and the soloists interacted with great charm and at times the violin and recorder evoked a human voice and an angelic responding song. This composition was followed by wild applause. The E Minor Concerto for violin, strings and basso continuo started in a dark mood with a sighing half step motive moving into agitated tremolos and feats of virtuosic violin solo playing with occasional startling spiccato passages. The largo movement contrasted intimate and fragile moments with emphatic statements and the final allegro featured Mr. Zanocco’s dazzling solo violin playing, phrased with ease and humor.

Vivaldi’s music is full of his expected compositional techniques: imitations, echoes, tremolos, fast passages with contrasting calm sections, dramatic gestures, and at the same time intimate tenderness. The music is both predictable and spontaneous, easy to listen to and also startling and intriguing.

In the B Flat Violin-Cello Concerto (RV 547) gave off fireworks in the orchestra and arpeggios in profusion. The andante was pastoral and delicately sweet, featuring a chamber music size ensemble. Then off to a galloping hunt with exciting fast cello passages from Massimo Raccanelli becoming at times like the sound of fluttering bird wings.

The first half of the concert concluded with enthusiastic ovations from the audience, and following intermission the orchestra presented Sinfonia in C (RV 717) from the opera Il Giustino, and then the Concerto in A Minor for cello, played as a last minute substitution by Mr. Raccanelli. The ensemble was impeccable. The cellist alternated passages of dizzying speed with a lovely slow movement full of subtle rubatos and expressiveness, leading to the last movement using stark staccatos, buzzing effects and a unison pizzicato ending.

Corelli’s La Follia was the theme for Geminiani’s Concerto Grosso, in D Minor (H. 143). The many short variation movements had a rich textured sound, with much virtuoso playing and a delightful amount of humor.

These elements of humor and color reached a climax in the Concerto in D Major for recorder (“Il Gardellino” - The Goldfinch), RV 428. Often played by a flute, Ms. Fusek created pure magic on her instrument as she trilled and warbled, chirped and soared, interacting with her colleagues and the audience in an unforgettable performance. The audience gave a standing ovation, gratefully acknowledging this exceptional concert.

Two encores were offered. The first was an arrangement of Gershwin’s Rhasody in Blue with featuring Ms. Fusek, and it was a humorous escapade. The entire ensemble returned with the presto “Summer” from Vivaldi’s Four Seasons. The many tremolos were played with precision and beauty.

Nicki Bell contributed to this review