Concerto No. 1 BWV 1046 In F Major
(Á 2 Corni Da Caccia, 3 Hautbois E Bassono, Violino Piccolo Concertato, 2 Violini,
 Una Viola E Violoncello, Col Basso Continuo)
1-1 	[Allegro] 	3:45
1-2 	Adagio 	3:33
1-3 	Allegro 	3:52
1-4 	Menuetto - Trio - Menuetto - Polonaise - Trio - Menuetto 	6:57
Concerto No. 2 BWV 1047 In F Major
(Á 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino Concertati, E 2 Violini,
 1 Viola E Violone In Ripieno Col Violoncello E Basso Per Il Cembalo)
1-5 	[Allegro] 	4:39
1-6 	Andante 	3:39
1-7 	Allegro Assai 	2:40
Concerto No. 3 BWV 1048 In G Major
(Á Tre Violini, Tre Viole, E Tre Violoncelli Col Basso Per Il Cembalo)
1-8 	[Allegro] 	5:45
1-9 	Adagio 	0:27
1-10 	Allegro 	4:33

Il Giardino Armonico:
Bassoon – Alberto Grazzi
Cello – Elena Russo, Marco Testori, Paolo Beschi
Double Bass – Vanni Moretto
Flute [Transverse] – Giovanni Antonini
Harpsichord – Michele Barchi
Horn [Baroque] – Edward Deskur, Glen Borling
Lute – Luca Pianca
Oboe – Andrea Mion, Marco Cera, Paolo Grazzi
Recorder – Giovanni Antonini, Petr Zejfart
Trumpet – Gabriele Cassone
Viola – Alberto Stevanin, Duilio Galfetti, Enrico Onofri, Francesco Lattuada
Viola [Da Gamba] – Paolo Biordi, Vittorio Ghielmi
Violin – Alberto Stevanin, Enrico Onofri, Marco Bianchi, Maria Cristina Vasi, Stefano Barneschi
Violin [Violino Piccolo] – Enrico Onofri
Violone – Vanni Moretto

Il Giardino Armonico is an original instruments group made up of skilled young Italian specialists in Baroque music. They bring a light, airy touch to the Brandenburg Concertos, with deeply felt slow movements, sprightly Allegros, and blistering Prestos. Unlike some of their ilk, they play with vitality while avoiding interpretive extremes; the finale of No.3, for example, is taken at a blistering pace but never feels too fast for the music. Solos are highly accomplished, with scintillating violin and wind contributions, along with charmingly blatty period horns in No. 1. The engineering is a big plus, helping to make this one of the best period performances of these perennial favorites. ---Dan Davis, amazon.com

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Disc 1

01. Claudio Monteverdi - Sinfonia de Il ritorno d’Ulisse in Patria
02. Tarquinio Merula - Ciaccona
03. Improvisation
04. Dario Castello - Sonata IV
05. Giovanni Battista Spadi - Anchor che co’l partire after a madrigal by Cipriano de Rore
06. Improvisation
07. Dario Castello - Sonata X
08. Giovanni Battista Riccio - Sonata a 4
09. Improvisation
10. Biagio Marini - Sonata sopra “la Monica”
11. Marco Uccellini - Aria sopra „la Bergamasca”
12. Salomone Rossi - Sinfonia a 3
13. Giovanni Battista Fontana - Sonata XV
14. Alessandro Piccinini - Toccata
15. Marco Uccellini - Sonata XVIII
16. Salomone Rossi - Sinfonia in eco a 3
17. Francesco Rognoni - Vestiva i colli after a madrigal by Palestrina
18. Salomone Rossi - Gagliarda „Zambalina” a 4
19. Salomone Rossi - Sinfonia grave a 5
20. Tarquinio Merula - Canzon “la Cattarina”
21. Marco Uccellini - Aria sopra „La scatola degli aghi”
22. Giovanni Paolo Cima - Sonata
23. Tarquinio Merula – „Ruggiero”
24. Salomone Rossi - Gagliarda ‘Norsina” a 5

Disc 2

Domenico Sarri - Concerto for Recorder, 2 Violins & Viola in A minor
1. I Largo
2. II Allegro
3. III Larghetto
4. IV Spiritoso
Domenico Scarlatti - Mandolin Sonata in D minor K90
5. I Grave
6. II Allegro
7.  III Allegro
Francesco Durante - Concerto for 2 Violins & Viola in G minor
8. I Affettuoso
9. II Presto
10. III Largo affettuoso
11. IV Allegro
Alessandro Scarlatti - Sonata for Recorder & 2 Violins in A minor
12. I Allegro
13. II Largo
14. III Fuga
15. IV Piano
16. V Allegro
Francesco Mancini - Sonata in D minor
17. I Amoroso
18. II Allegro
19. III Largo
20. IV Allegro

Il Giardino Armonico
Giovanni Antonini – director

Il Giardino Armonico, founded in 1985 and conducted by Giovanni Antonini have long been established as one of the world’s leading period instrument ensembles, bringing together musicians from some of Europe’s leading music institutions.

The ensemble’s repertory is mainly focused on the 17th and 18th centuries. Depending on the demands of each programme, the group will consist of anywhere from 3 to 35 musicians.

After many years as exclusive group of Teldec Classics, achieving several major awards for their recordings of works by Vivaldi and other 18th century composers, the group has signed in 2008 an exclusive recording agreement with DECCA/L’Oiseau-Lyre.

With this record label the ensemble has released Haendel’s Concerti Grossi Op VI and the cantata Il Pianto di Maria, with mezzo-soprano Bernarda Fink.

In 2009 a new cooperation with Cecilia Bartoli lead to the project Sacrificium, including il Giardino Armonico’s last Decca recording (awarded the Platinum Disc in France and Belgium within the first three months) and a long European tour.

Their CD of Vivaldi’s opera Ottone in Villa, released by Naive, was awarded with the Diapason d’Or in January 2011.

Il Giardino Armonico’s last recording, the CD Alleluja, with young soprano Julia Lezhneva, released by Decca in march 2013, has been unanimously acclaimed by public and critics.

Il Giardino Armonico is regularly invited to festivals all over the world, performing in the most important concert halls, and has received the highest acclaim both for their concerts and for their staged opera productions, like Monteverdi’s Orfeo, Handel’s Agrippina, Il Trionfo del Tempo del Disinganno and La Resurrezione, Vivaldi’s Ottone in Villa and, most recently, Handel’s opera Giulio Cesare, during last editions of Salzburg Whitsun and Summer Festival.

The ensemble can regularly be heard performing with such acclaimed soloists as Giuliano Carmignola, Christophe Coin, Katia and Marielle Labèque, Bernarda Fink, Viktoria Mullova, Giovanni Sollima and Cecilia Bartoli.

Their future projects include a second recording, followed by an European tour, with Julia Lezhneva, a tour in Far East with the chamber music ensemble, collaboration swith cellist Sol Gabetta, the soprano Anna Prohaska and the violinist Isabelle Faust, and performances of Bach and Vivaldi’s Magnificat in collaboration with the Bayerische Rundfunk Chor.

In autumn 2014 the first CD of the complete symphonies of F.J. Haydn will be released, a twenty-year project for which the “Haydn Foundation” has been created in Basel, to support both the recording project and a series of concerts in various european capitals, with thematic programs focused on this fascinating repertoire. --- ilgiardinoarmonico.com

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01. Sinfonia
02. Ciaccona a tre
02. Improvisation
03. Sonata IV
04. Diminuzioni sul " Anchor...
04. Improvisation
05. Sonata X
06. Sonata a 4
06. Improvisation
07. Sonata sopra la Monica		play
08. Aria sopra la Bergamasca
09. Sinfonia a 3
10. Sonata
11. Toccata
12. Sonata XVIII
13. Sinfonia in eco
14. Vestiva i colli
15. Gagliarda "Zambalina"
16. Sinfonia grave
17. Canzon " La Cattarina"		play
18. Aria sopra
19. Sonata in sol
20. Ruggiero
21. "Norsina"

Il Giardino Armonico

Baroque ensemble Il Giardino Armonico take a step away from Bach, Biber, and Vivaldi to create this intriguing disc of lesser-heard 17th century compositions from Italy. These short instrumental pieces--Dario Castello's Sonata IV is the longest, at over seven minutes, while Monteverdi's Sinfonia de Il ritorno d'Ulisse in Patria clocks in at under a minute--were all composed during the era of Monteverdi's operatic output, and they each seem to mimic the drama and intonation of the human voice. But the young ensemble's creative programming doesn't stop in the selection of compositions. This disc seamlessly melds Tarquino Merula's multilayered Ciaccona to a harpsichord improvisation (there are also wonderful improvisations for solo lute and violin scattered about the disc). From the jazzy opening of Uccellini's weird Aria sopra "la Bergamasca" for flute, cello, harp, and citerone to the slow-paced melancholy of Giovanni Battista Riccio's Sonata a 4, there's a treasure trove of great Baroque music here. These left-field works sound completely fresh and vibrant, a testament both to the composers and the sprightly playing of Il Giardino Armonico. Highly recommended. --Jason Verlinde

Our journey begins chronologically with the pieces by Salomone Rossi published in 1607, thus several months after the Mantuan "premiere" of Monteverdi's Orfeo, in which Rossi is believed to have taken part as a violinist. Echoes of Monteverdi's music resound very cleary (and movingly) in Rossi's aphoristic Sinfonie.

Passing through the works of Cima,Castello,Merula,Marini and the other composers represented on this recording, we arrive at Uccellini's collection of 1645, just shortly posterior to L'incoronazione di Poppea and Monteverdi's death. The works selected for this anthology are thus enclosed within the span of Monteverdi's operatic output - his lyrical adventure. All the pieces reflect the unflagging endeavor to imitate the vocal models and inventory of gestures of the burgeoning operatic theater. Dario Castello's two sonatas are emblematic in this sense.

It is also journey through the colors of the most varied instrumental combinations of the period (actually, it is only a small sampling of possibile combinations), the red thread of which is the trio sonata for two instruments and basso continuo.One finds among them the most variegated emotional contrasts as well: from the luminosity of the pieces by Merula and Marini to the ardent theatricality of Castello, and from the vaguely ascetic darkness of Riccio's sonata to the countless shadings and chiaroscuro effects so beloved in the early Italian Baroque.

Our journey also takes us to the towns of northern Italy which link the composers on our selection: from the Milan of Cima and Rognoni to the Mantua of Rossi and Monteverdi, and from Romagna of Uccellini and Spadi to the Venice of Riccio and Castello, where all the currents of music and art flowed together: for it is in Venice that Monteverdi spent a good part of his life and where the majority of the works presented here were printed. --- Giovanni Antonini

Il Giardino Armonico is an Italian period instrument chamber ensemble specializing in vigorous and earthy performances of music from the Italian Baroque. Founded in 1985 in Milan, the group has a flexible membership with as few as three and as many as 30 players. Since 1989, the ensemble has been conducted by flutist Giovanni Antonini. The group has toured worldwide and developed an extensive discography, mostly on Teldec Classics. The group's recordings of concerti by Vivaldi have garnered awards such as the Diapason d'Or, Choc de la Musique, the Grand Prix des Discophiles, and the Gramophone Award. The Grammy award-winning Vivaldi Album (1999) on Decca featured Cecilia Bartoli singing previously unrecorded and mostly unperformed opera arias by Vivaldi. The group has performed in both concert and staged productions of many operas and oratorios from the seventeenth and eighteenth centuries, including Pergolesi's La serva padrona; Handel's Agrippina, La resurrezione, and Il trionfo del tempo del disinganno; and Hasse's I pellegrini al sepolcro di nostro signore. In 1993, the group performed Claudio Monteverdi's L'Orfeo in Milan to mark the 350th anniversary of the composer's birth. It regularly performs and records with a wide variety of soloists, including Cecilia Bartoli, Katia and Marielle Labèque, Eva Mei, Sumi Jo, Sara Mingardo, Lynne Dawson, Christoph Prégardien, Véronique Gens, Viktoria Mullova, and Giuliano Carmignola. Il Giardino Armonico's concerts and discography are notable for their inclusion of rarely performed works by composers such as Rossi, Riccio, Spadi, and Conti, alongside works such as Vivaldi's The Four Seasons. Even in the most familiar repertoire, the ensemble distinguishes itself by its lusty and energetic readings, replete with glissandos and imaginative ornamentation. ~ Robert Adelson, All Music Guide

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	Concerto No.4, BWV 1049
11-1 	–Johann Sebastian Bach 	I Allegro 	
11-2 	–Johann Sebastian Bach 	II Andante 	
11-3 	–Johann Sebastian Bach 	III Presto 	
		Concerto No.5, BWV 1050
11-4 	–Johann Sebastian Bach 	I Allegro 	
11-5 	–Johann Sebastian Bach 	II Affettuoso 	
11-6 	–Johann Sebastian Bach 	III Allegro 	
		Concerto No.6, BWV 1051
11-7 	–Johann Sebastian Bach 	I [Allegro] 	
11-8 	–Johann Sebastian Bach 	II Adagio Ma Non Tanto 	
11-9 	–Johann Sebastian Bach 	III Allegro

Il Giardino Armonico:
Bassoon – Alberto Grazzi
Cello – Elena Russo, Marco Testori, Paolo Beschi
Double Bass – Vanni Moretto  0o--mn Flute [Transverse] – Giovanni Antonini;0
Harpsichord – Michele Barci
Horn [Baroque] – Edward Deskur, Glen Borling
Lute – Luca Pianca
Oboe – Andrea Mion, Marco Cera, Paolo Grazzi
Recorder – Giovanni Antonini, Petr Zejfart
Trumpet – Gabriele Cassone
Viola – Alberto Stevanin, Duilio Galfetti, Enrico Onofri, Francesco Lattuada
Viola [Da Gamba] – Paolo Biordi, Vittorio Ghielmi
Violin – Alberto Stevanin, Enrico Onofri, Marco Bianchi, Maria Cristina Vasi, Stefano Barneschi
Violin [Violino Piccolo] – Enrico Onofri
Violone – Vanni Moretto

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Disc 3

	Concerto Grosso Op.6 No.8 In G Minor "Fatto Per La Notte Di Natale"
3-1 	–Arcangelo Corelli 	I Vivace-Grave 	
3-2 	–Arcangelo Corelli 	II Allegro 	
3-3 	–Arcangelo Corelli 	III Adagio-Allegro-Adagio 	
3-4 	–Arcangelo Corelli 	IV Vivace 	
3-5 	–Arcangelo Corelli 	V Allegro 	
3-6 	–Arcangelo Corelli 	VI Pastorale 
		Concerto In E Major, RV 270 "Il Riposo" "...Per Il Natale"
3-7 	–Antonio Vivaldi 	I Allegro 	
3-8 	–Antonio Vivaldi 	II Adagio 	
3-9 	–Antonio Vivaldi 	III Allegro 
		Concerto À Quattro In G Minor, Op.8 No.6 "...Per Il Santissmo Natale"
3-10 	–Giuseppe Torelli 	I Grave-Vivace 	
3-11 	–Giuseppe Torelli 	II Largo 	
3-12 	–Giuseppe Torelli 	III Vivace 	
		-
3-13 	–Antonio Vivaldi 	Pastorale In A Major From Sonata Op.13 No.4, RV 59 	
		Sinfonia Pastorale In G Major
3-14 	–Pietro Antonacci 	I Allegro 	
3-15 	–Pietro Antonacci 	II Pastorale: Andante - Canzona: Largo-Presto 	
3-16 	–Pietro Antonacci 	III Andante 	
		Concerto In F Major For 2 Recorders,2 Violins And Basso Continuo
3-17 	–Johann Christoph Pez 	I Pastorale: Adagio 	
3-18 	–Johann Christoph Pez 	II Aria: Presto 	
3-19 	–Johann Christoph Pez 	III Aria: Grave 	
3-20 	–Johann Christoph Pez 	IV Aria Pastorale: Presto-Adagio 	
3-21 	–Johann Christoph Pez 	V Minuet-Trio-Minuet 	
3-22 	–Johann Christoph Pez 	VI Passacaglia 	
3-23 	–Johann Christoph Pez 	VII Aria 
		Concerto Grosso In C Major, Op.3 No.12 "Con Una Pastorale Per Il Santissimo Natale"
3-24 	–Francesco Manfredini 	I Largo 	
3-25 	–Francesco Manfredini 	II Largo 	
3-26 	–Francesco Manfredini 	III Allegro

Il Giardino Armonico
Giovanni Antonini – director

The Christmas concerto is an interesting subgenre of the baroque concerto grosso. Several Italian baroque composers wrote concerti designated for performance at Christmastime - this designation being by virtue of their pastoral or "musette" movements, such music being associated with the music of the sheperds of Bethlehem. Here Il Giardino Armonico performs a batch of Christmas concertos by Corelli, Vivaldi, Gemignani, and others. Giardino's astringent tone lacks the sweetness of Europa Galante (my preferred Italian period instrument ensemble), but their interpretations are bracing, sometimes startling in their dynamic contrasts, and full of life. They are, if you will, like a severe German alterpiece rather than a sweet Italian madonna. ---Michael, amazon.com

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Disc 4

  1. Concerto op. 10/1 RV 98: Allegro
  2. Concerto op. 10/1 RV 98: Largo
  3. Concerto op. 10/1 RV 98: Presto
  4. Concerto op. 10/2 RV 104: Largo
  5. Concerto op. 10/2 RV 104: Fantasimi: Presto - Largo - Andante
  6. Concerto op. 10/2 RV 104: Presto
  7. Concerto op. 10/2 RV 104: Il Sonno: Largo
  8. Concerto op. 10/2 RV 104: Allegro
  9. Concerto in D major RV 93: Allegro
  10. Concerto in D major RV 93: Largo
  11. Concerto in D major RV 93: Allegro
  12. Sonata op. 1/12 in D minor RV 63
  13. Concerto No. 5 in F: Allegro ma non troppo
  14. Concerto No. 5 in F: Largo e cantabile
  15. Concerto No. 5 in F: Allegro
  16. Concerto in D major RV 94: Allegro
  17. Concerto in D major RV 94: Largo
  18. Concerto in D major RV 94: Allegro
  19. Concerto in A minor RV 108: Allegro
  20. Concerto in A minor RV 108: Largo
  21. Concerto in A minor RV 108: Allegro
  22. Concerto in G minor RV 107: Allegro
  23. Concerto in G minor RV 107: Largo
  24. Concerto in G minor RV 107: Allegro

Il Giardino Armonico
Giovanni Antonini – director

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		Concerto In D Major, RV 564
        
5-1 	–Antonio Vivaldi 	I Allegro 	
5-2 	–Antonio Vivaldi 	II Largo 	
5-3 	–Antonio Vivaldi 	III Allegro 
		Concerto In F Major, RV 551
5-4 	–Antonio Vivaldi 	I Allegro 	
5-5 	–Antonio Vivaldi 	II Andante 	
5-6 	–Antonio Vivaldi 	III Allegro 
		Concerto In G Minor, RV 531
5-7 	–Antonio Vivaldi 	I Allegro 	
5-8 	–Antonio Vivaldi 	II Largo 	
5-9 	–Antonio Vivaldi 	III Allegro 	
		Conerto In A Major, RV 552
5-10 	–Antonio Vivaldi 	I Allegro 	
5-11 	–Antonio Vivaldi 	II Larghetto 	
5-12 	–Antonio Vivaldi 	III Allegro 	
		Concerto In C Major, RV 561
5-13 	–Antonio Vivaldi 	I Allegro Ma Non Molto 	
5-14 	–Antonio Vivaldi 	II Largo E Cantabile 	
5-15 	–Antonio Vivaldi 	III Allegro 	
		Concerto In F Major, RV 544
5-16 	–Antonio Vivaldi 	I Allegro 	
5-17 	–Antonio Vivaldi 	II Largo 	
5-18 	–Antonio Vivaldi 	III Allegro 	

Il Giardino Armonico
Giovanni Antonini – director

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Concerto In C Major, RV 558
6-1 	–Antonio Vivaldi 	I Allegro Molto 	
6-2 	–Antonio Vivaldi 	II Andante Molto 	
6-3 	–Antonio Vivaldi 	III Allegro 
Concerto In D Minor, RV 540
6-4 	–Antonio Vivaldi 	I Allegro 	
6-5 	–Antonio Vivaldi 	II Largo 	
6-6 	–Antonio Vivaldi 	III Allegro 	
Concerto In C Major, RV 425
6-7 	–Antonio Vivaldi 	I Allegro 	
6-8 	–Antonio Vivaldi 	II Largo 	
6-9 	–Antonio Vivaldi 	III [Allegro] 	
Trio In G Minor, RV 85
6-10 	–Antonio Vivaldi 	I Andante Molto 	
6-11 	–Antonio Vivaldi 	II Larghetto 	
6-12 	–Antonio Vivaldi 	III Allegro 	
Concerto In D Major, RV 93
6-13 	–Antonio Vivaldi 	I [Allegro] 	
6-14 	–Antonio Vivaldi 	II Largo 	
6-15 	–Antonio Vivaldi 	III Allegro	
Trio In C Major, RV 82
6-16 	–Antonio Vivaldi 	I Allegro Non Molto 	
6-17 	–Antonio Vivaldi 	II Larghetto 	
6-18 	–Antonio Vivaldi 	III Allegro 	
Concerto In G Major, RV 532
6-19 	–Antonio Vivaldi 	I Allegro 	
6-20 	–Antonio Vivaldi 	II Andante 	
6-21 	–Antonio Vivaldi 	III Allegro 
Il Giardino Armonico (Ensemble)
Giovanni Antonini - conductor

When you’re on the roller-coaster, there’s this point when having slowly gone up, it suddenly goes down: brace yourself, too late to get off, make sure seat-belt is fastened, stiffen your neck for the acceleration, and whiiiiizz! off you go.

That’s exactly what you’ll feel when you listen to track 1, the magnificent Concerto RV 558 for two recorders, two “tromba marinas” (contrary to what their name implies, they are instruments of the violin family), two mandolins, two theorbos, two salmoè (an ancestor of the clarinet) and cello. It’s like, wow. A gush of violent sirocco hitting your face, wild, almost raging. In comparison, as good as they are, Pinnock and his English Concert (in their 1985 “Alla Rustica” recital, Vivaldi: Concerti, Alla Rustica) sound tame and proper.

Same with RV 540 for viola d’amore and lute, which is on Pinnock’s companion “L’Amoroso” recording, made in 1986, Concerti L'Amoroso. Here it isn’t so much a matter of tempo, Pinnock is not considerably slower than Antonini and Il Giardino in the first movement, and exactly comparable in the Finale. But the articulation! In the opening Allegro Il Giardino’s strings play with a pointed staccato which adds tremendously to the music’s dramatic impact. Pinnock is fine, but in comparison he sounds again somewhat tame, and doesn’t keep you on your toes as Il Giardono does. Some might take exception, based on the fact that this staccato playing isn’t explicitly called for by the score, but it is so imaginative and makes the music so much more interesting! Same thing in the Finale: Pinnock is fine, but at a comparable tempo there’s so much more energy with Il Giardino. Roy Goodman was the viola player for Pinnock and he was already when he recorded the same concerto a year and a half earlier with his own ensemble, The Parley of Instruments, for Hyperion (Music for Lute & Mandolin): the ensemble sounds much leaner, astringent even, in comparison to both Pinnock’s English Concert and Il Giardino Armonico, but his tempos are lively and I would be very happy with that version in the absence of the Italians… but again in terms of imagination of phrasings he is not in the same league as Il Giardino. Like Pinnock’s (and unlike the Parley’s), Il Giardino’s middle Largo is slow, but it’s tender, never sentimentally wailing, and again there’s great imagination in the ornamentation of the repeats.

And again, just to point out some details, in the larghetto of Trio RV 82 for violin, lute and continuo, as beautiful as is the Parley of Instruments in itself, Il Giardino is simpy in another dimension, through two unbelievable touches of imagination and freedom: playing the lute’s grace notes as glissandos, and playing both the basso continuo AND the solo violin part pizzicato, changing the music into raindrop or tear music – and really, turning a very pretty Larghetto in one of Vivaldi’s most sublime inventions. Or the way they render Vivaldi’s staccato in the first movement of the companion trio RV 85: so much more imaginative and poetic than their competitors. Or the whole Concerto for Mandolin RV 425: there, in the first movement, the manuscript requests that “’if possible the violins should play pizzicato”: this, Il Giardino Armonico does, and the effect is extraordinary, both beautifully Venetian but also making it all sound like some giant cimbalom, but they also extend it to the next two movements, and the Largo in particular gains a breathtaking restraint, just drops of mandolin against a few punctuations from the strings.

There’s a lot more I could comment upon – in fact, in all those works, in every single movement, even if other versions and other approaches that I have in my collection – in particular those of Pinnock and of The Parley of Instruments - can be very enjoyable in their own right, there is always at least a little something – and may times very significant things – that makes me prefer Il Giardino Armonico: more energy, more drive, more fire and passion, more enthusiasm, but also more imagination, invention and freedom in their phrasings and articulation. This is not Vivaldi at tea-time, this is not, as in another competing CD by lutenist Michel Amoric and friends on the French label Adès, Vivaldi played for the maidens of the nobility under surveillance from their duegnas, not Vivaldi transplanted in the aristocratic salon of Queen Marie-Antoinette, it’s Vivaldi in the tavern, Vivaldi of blood, sweat and tears.

To some ears this, or at least some of this may seem over-the-top – if I may, inadvertently, continue my roller-coasting metaphor. Not for me: I think Il Giardino Armonico is the best thing that has happened to Vivaldi since his appointment at Ospedale della Pietà. But the others, Pinnock, The Parley of Instrument, may retain an appeal for those whose heart condition forbids that they do extreme sports. They need to know, though, that they'll be missing something truly unique. ---Discophage, amazon.com

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The Four Seasons

		Concerto Op.8 No.1 In E Major, RV 269 "Spring"
7-1 	–Antonio Vivaldi 	I Allegro 	
7-2 	–Antonio Vivaldi 	II Largo 	
7-3 	–Antonio Vivaldi 	III Allegro 
		Concerto Op.8 No.2 In G Minor, RV 315 "Summer"
7-4 	–Antonio Vivaldi 	I Allegro Non Molto-Allegro 	
7-5 	–Antonio Vivaldi 	II Adagio-Presto 	
7-6 	–Antonio Vivaldi 	III Presto 
		Concerto Op.8 No.3 In F Major, RV 293 "Autumn"
7-7 	–Antonio Vivaldi 	I Allegro-Allegro Assai 	
7-8 	–Antonio Vivaldi 	II Adagio 	
7-9 	–Antonio Vivaldi 	III Allegro 
		Concerto Op.8 No.4 In F Minor, RV 297 "Winter"
7-10 	–Antonio Vivaldi 	I Allegro Non Molto 	
7-11 	–Antonio Vivaldi 	II Largo 	
7-12 	–Antonio Vivaldi 	III Allegro 
		-
		Concerto Op.8 No.9 D Minor, RV 454
7-13 	–Antonio Vivaldi 	I Allegro 	
7-14 	–Antonio Vivaldi 	II Largo 	
715 	–Antonio Vivaldi 	III Allegro 
		Concerto Op.8 No.8 In G Minor, RV 332
7-16 	–Antonio Vivaldi 	I Allegro 	
7-17 	–Antonio Vivaldi 	II Largo 	
7-18 	–Antonio Vivaldi 	III Allegro

Il Giardino Armonico (Ensemble)
Giovanni Antonini - conductor

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8-1 	–Jan Dismas Zelenka 	Fanfare In De Major: Battalia
		-
8-2 	–Heinrich Ignaz Franz Von Biber 	Sonata: Allegro 	
8-3 	–Heinrich Ignaz Franz Von Biber 	Die Liederliche Gesellschaft Von Allerley Humor 	
8-4 	–Heinrich Ignaz Franz Von Biber 	Presto 	
8-5 	–Heinrich Ignaz Franz Von Biber 	Der Mars 	
8-6 	–Heinrich Ignaz Franz Von Biber 	Presto 	
8-7 	–Heinrich Ignaz Franz Von Biber 	Aria 	
8-8 	–Heinrich Ignaz Franz Von Biber 	Die Schlacht 	
8-9 	–Heinrich Ignaz Franz Von Biber 	Lamento Der Verwundten Musquetirer 	
8-10 	–Heinrich Ignaz Franz Von Biber 	Passacaglia In C Minor 	
8-11 	–Heinrich Ignaz Franz Von Biber 	Tune For The Woodlark Anon. Sonata Violino Solo Representiva 	
8-12 	–Heinrich Ignaz Franz Von Biber 	Allegro 	
8-13 	–Heinrich Ignaz Franz Von Biber 	[Die] Nachtigal 	
8-14 	–Heinrich Ignaz Franz Von Biber 	[Der] Cu Cu 	
8-15 	–Heinrich Ignaz Franz Von Biber 	[Der] Fresch 	
8-16 	–Heinrich Ignaz Franz Von Biber 	Adagio 	
8-17 	–Heinrich Ignaz Franz Von Biber 	Die Henne Und Der Hahn 	
8-18 	–Heinrich Ignaz Franz Von Biber 	Presto 	
8-19 	–Heinrich Ignaz Franz Von Biber 	Adagio: D[ie] Vachtel 	
8-20 	–Heinrich Ignaz Franz Von Biber 	D[ie] Katz 	
8-21 	–Heinrich Ignaz Franz Von Biber		Musquetier Mars 	
8-22 	–Heinrich Ignaz Franz Von Biber 	Allamande 	
8-23 	–Heinrich Ignaz Franz Von Biber 	Ricercare, Partia VII In C Minor (Composed By Enrico Onofri)
8-24 	–Heinrich Ignaz Franz Von Biber 	Praeludium 	
8-25 	–Heinrich Ignaz Franz Von Biber 	Allamande 	
8-26 	–Heinrich Ignaz Franz Von Biber 	Sarabande 	
8-27 	–Heinrich Ignaz Franz Von Biber 	Gigue:Presto 	
8-28 	–Heinrich Ignaz Franz Von Biber 	Aria 	
8-29 	–Heinrich Ignaz Franz Von Biber 	Trezza 	
8-30 	–Heinrich Ignaz Franz Von Biber 	Arietta Variata 	
		-
8-31 	–Matthew Locke 	Canon 4 In 2 	
		Music For The Tempest
		[The First Musick]
8-32 	–Matthew Locke 	Introduction 	
8-33 	–Matthew Locke 	Galliard 	
8-34 	–Matthew Locke 	Gavot 	
		[The Second Musick]
8-35 	–Matthew Locke 	Sarabande 	
8-36 	–Matthew Locke 	Lilk 	
8-37 	–Matthew Locke 	Curtain Tune 	
8-38 	–Matthew Locke 	First Act Tune: Rustick Air 	
8-39 	–Matthew Locke 	The Second Act Tune: Minoit 	
8-40 	–Matthew Locke 	The Third Act Tune: Corant 	
8-41 	–Matthew Locke 	The Fourth Act Tune: A Martial Jigge 	
8-42 	–Matthew Locke 	The Conclusion: A Canon 4 In 2 	


Il Giardino Armonico (Ensemble)
Giovanni Antonini - conductor

download (mp3 @320 kbs):

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