Specchio Veneziano
Young French chamber ensemble Le Consort has recorded a new album on Alpha of some 68 minutes dedicated to Venetian chamber music by Reali (1681-1751) and Vivaldi (1768-1741). While one of these two composers tends to be well-known today, the other we can’t say has faired as well after the passage of time. The liner notes speak to Venice having two real violin virtuosos, and in both cases, their opus 1 releases seamed to mirror one another in more ways than one.
Reali unfortunately only left us two official published collections. The liner notes foretell that after his move to Emilia-Romagna with the Duke of Guastalla in 1727, we lose track of him.
Le Consort “mirror” these two composers by performing, at opposite ends, the two composers' variations on the Spanish dance, La Follia. Other pieces by Reali include his Capricio in D minor, D major, two D minor sonatas and a capricio in A major. These other pieces may be unknown to you as they are premier recordings.
There are already a number of fine recordings of Vivaldi’s opus 1 on record. I am not certain we needed a new one. I therefore like the treatment here of Vivaldi’s official early published works played alongside those of Reali.
The Reali style, you will likely find, is not terribly removed from that of his fellow inhabitant of Venice in the early eighteenth century. As the elder, it would be easy for us to assume that the elder Vivaldi had an influence on Reali.
Le Consort’s previous offering, entitled “Opus 1”, featuring works by Dandrieu, I thought was quite outstanding. In short time I’ve become the biggest fan of lead violinist Théotime Langlois de Swarte. His energy and enthusiasm is welcome in the world of early music. The video that was made to promote this release is also telling, in the way the performers smile in support of the music and one another. I may be reading too much into the marketing, but this ensemble plays together well and shows impeccable taste in style, tempo, and the cohesion is so solid.
As a few examples of what they do well, the fourth movement of the Vivaldi trio sonata in G minor, RV 73, has an organic feel to it, especially so between the two violins. It would have been far simpler to play it more carefully against a metronome, but instead, the two violinists let the ebullience of the music propel the listener forward.
The opening Grave of the Reali Sinfonia in D minor is straight out of Corelli’s book, with the type of reverence we might expect for a church sonata. The opening phrase is followed by a far more affluent one, in terms of dynamics and the ensemble’s sound.
Both composers’ variations on La Follia are handled with special care. While we know Justin Taylor well as a harpsichordist with some natural talent, he joins the Vivaldi work on chamber organ and harpsichord, which varies the sound color. The violinists take, which is still rare today, some license with ornaments which I think speaks to my expectations of their good taste. Add to that excellent technique.
Le Consort had raised the bar high with their last release and thankfully have brought to us more of Vivaldian flavor in their “opus 1” release from Venice, featuring the Red Priest and a newcomer, I am sure, to most: Giovanni Battista Reali.
A stunningly satisfying release.
