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Vivaldi's Music for Flute and Recorder, by Federico Maria Sardelli, Michael Talbot
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Federico Maria Sardelli writes from the perspective of a professional baroque flautist and recorder-player, as well as from that of an experienced and committed scholar, in order to shed light on the bewildering array of sizes and tunings of the recorder and transverse flute families as they relate to Antonio Vivaldi's compositions. Sardelli draws copiously on primary documents to analyse and place in context the capable and surprisingly progressive instrumental technique displayed in Vivaldi's music. The book includes a discussion of the much-disputed chronology of Vivaldi's works, drawing on both internal and external evidence. Each known piece by him in which the flute or the recorder appears is evaluated fully from historical, biographical, technical and aesthetic standpoints. This book is designed to appeal not only to Vivaldi scholars and lovers of the composer's music, but also to players of the two instruments, students of organology and those with an interest in late baroque music in general. Vivaldi is a composer who constantly springs surprises as, even today, new pieces are discovered or old ones reinterpreted. Much has happened since Sardelli's book was first published in Italian, and this new English version takes full account of all these new discoveries and developments. The reader will be left with a much fuller picture of the composer and his times, and the knowledge and insights gained from minutely examining his music for these two wind instruments will be found to have a wider relevance for his work as a whole. Generous music examples and illustrations bring the book's arguments to life.
- Sales Rank: #3660241 in Books
- Published on: 2016-02-19
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x 6.50" w x 1.00" l, 1.56 pounds
- Binding: Hardcover
- 376 pages
Review
'Federico Maria Sardelli's comprehensive study of this sector of Vivaldi's oeuvre, first published in Italian in 2001, brings its riches to the English-speaking world through a thoughtful translation by Michael Talbot. The repertory itself is a miscellany of sonatas and concertos plus an array of obbligato parts in operas and church music, but Sardelli holds that it plays a central role in the development of wind music in late Baroque Europe. Bringing his own insights as a performer to individual works, he deduces that Vivaldi played many of the instruments for which he scored. He discusses subtleties of nomenclature and scoring, offers extensive detail of the musical sources, surveys issues of performance in several locales, and deduces from the available evidence the types and sizes of instruments intended for each of the works. The whole book is generously provided with illustrations and musical examples. In Sardelli's own phrase, it emphasizes "data, documents, and commentary." The text has been updated to accommodate recent discoveries.' Eleanor Selfridge-Field, Stanford University, USA '...this is a major contribution to Vivaldi studies...Highly recommended.' Choice '...the reader is fortunate in that so fine a book has been translated by so distinguished a scholar, a fact that itself lends it authority... The author knows the sources, he knows the music, and knows what needs to be written... if only such books existed on other distinct repertoires - and not just Vivaldi. There is such a wealth of information and understanding that I can make this a very short review, and just recommend it to all who play the music [...] and those who write about it.' Early Music Review 'Vivaldi scholar Michael Talbot has done a noble service to the English-speaking world in making this 2001 work (published in Italian) accessible... If you want to know about Vivaldi's works for flute, this is the book!' Kansas City Flute Association Newsletter '... a comprehensive study of the composer's repertoire for flute and recorders of varying sizes... there is no doubt that Sardelli's book is a comprehensive starting point for those interested in delving into the Vivaldian repertoire and the historical and performance issues relating to it. Ashgate are to be applauded for publishing such a well-translated study that significantly adds to the research material available to English-speaking scholars and students.' The Consort
About the Author
Federico Maria Sardelli - conductor, musicologist and flautist - is a member of the Istituto Italiano Antonio Vivaldi, Venice. Michael Talbot is Emeritus Professor of Music at the University of Liverpool, UK.
Most helpful customer reviews
1 of 1 people found the following review helpful.
A better conclusion would be that recorder is a possible original ...
By R. Folk
An amazingly thorough review of Vivaldi's flute and recorder music. The discussion of the cantatas is a valuable addition given the primordial state of research in this area. I do have a few complaints --
1. The controversy concerning the "flautino" concertos has about as much credence as the "controversy" about evolutionary theory. We have known for decades that these were for sopranino recorder in F and later transposed for soprano recorder in C. Let's move on!
2. Sardelli argues against the existence of recorder antecedents for the famous published flute concertos, opus 10. Scrutiny reveals his arguments to be amazingly weak. The upshot is that no parts marked "flauto" (recorder) come down to us -- yet at the end of the recorder chapter we are treated to a discussion of upwards of fifteen (!) lost recorder concertos and only two surviving examples with ripieno strings (and a few more chamber concertos). Presenting a lack of manuscripts as negative evidence presumes that Vivaldi's recorder manuscripts have survived immaculately, which is clearly not the case. It remains problematic that La Notte and Tempesta di Mare are far easier to play on recorder and obey its range perfectly. It would be strange to simultaneously call on difficult high notes for the flute and avoid its lower range (making prolific use, however, of F, the lowest note of the treble recorder), when we all know that the low range is a particular strength of the conical-bore one-key flute in D. Many of these concertos are in flat keys; while we know that transverse flutes were occasionally called on in these keys, it is strange to use them so frequently. A better conclusion would be that recorder is a possible original instrumentation, but no direct documentary evidence comes down to us.
3. The tone in several places is querulous, and in my opinion, quite beneath academic writing. The discussion of "flautini" is a good place to start.
0 of 0 people found the following review helpful.
Il y a assurément à boire et à manger dans ce livre...
By Mr. Jean Cassignol
Un premier exemple: le chapitre sur les extraordinaires concerti pour petite flûte ou flautino RV 443, 444 et 445 traite de manière polémique du cas du RV 312, commencé par Vivaldi pour petite flûte dans ses mouvements I et II, mais vraiment terminé de manière idiomatique (pour le violon) en son mouvement III, ce qui donne actuellement deux concertos reconnus: le RV 312 pour violon et le RV 312R (R comme reconstruit), tous deux enregistrés respectivement par Duilio M. Galfetti au violon et Dorothee Oberlinger à la flûte à bec sopranino en fa. Mais la date de publication de l'ouvrage de Sardelli (2007, mais terminé en 2005) explique que son auteur ne pouvait pas connaître la thèse d'Olivier Fourés sur le violon vivaldien, soutenue à Lyon en 2007. Autre exemple: le concerto RV 430 (275a), rageusement écarté par Sardelli comme pseudo-concerto pour flûte (page 141) mais sereinement enregistré par le grand flûtiste Alexis Kossenko en 2009 sur flûte traversière en buis d'après Christoph Denner (ca. 1725)...
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