Double Cello Concerto, for 2 cellos, strings & continuo in G minor, RV 531: I. Allegro
Double Cello Concerto, for 2 cellos, strings & continuo in G minor, RV 531: II. Largo
Double Cello Concerto, for 2 cellos, strings & continuo in G minor, RV 531: III. Allegro
Violin Concerto, for violin, strings & continuo in F minor ('L'inverno,' The Four Seasons; 'Il cimento' No. 4), Op. 8/4, RV 297: II.
Cello Concerto, for cello, strings & continuo in B flat major, RV 423: I. Allegro
Cello Concerto, for cello, strings & continuo in B flat major, RV 423: II. Largo
Cello Concerto, for cello, strings & continuo in B flat major, RV 423: III. Allegro
La Fida ninfa, opera in 3 acts, RV 714: Cos? sugl' occhi miei
Double Concerto, for viola d'amore & lute, strings & continuo in D minor, RV 540: I. Allegro
Double Concerto, for viola d'amore & lute, strings & continuo in D minor, RV 540: II. Largo
Double Concerto, for viola d'amore & lute, strings & continuo in D minor, RV 540: III. Allegro
Giustino, opera in 3 acts, RV 717: La gloria del mio sangue
Cello Concerto, for cello, strings & continuo in C minor 'Alla Rustica,' RV 401: I. Allegro non molto
Cello Concerto, for cello, strings & continuo in C minor 'Alla Rustica,' RV 401: II. Adagio
Cello Concerto, for cello, strings & continuo in C minor 'Alla Rustica,' RV 401: III. Allegro ma non molto
Juditha triumphans devicta Holofernes barbarie, oratorio in 2 parts, RV 644: Noli, ? cara, te adorantis
Gloria, for 3 solo voices, chorus, trumpet, oboe, violin (ad lib), 2 violas, 2 cellos, strings & continuo in D major, RV 589: Laudamu
Juditha triumphans devicta Holofernes barbarie, oratorio in 2 parts, RV 644: Quanto magis generosa
La Fida ninfa, opera in 3 acts, RV 714: Dite oihm?
The great Yo-Yo Ma has recently (in addition to his world music explorations) moved to the baroque cello, a so-called period instrument, and his transition has been remarkably smooth. He is indeed a musical polyglot, and t... more »his CD finds him solidly in the heart of the Baroque period, with music by Vivaldi. In addition to three concerti the composer wrote for cello, there are some fascinating transcriptions. The Largo violin solo from the "Winter" concerto of the Four Seasons is here beautifully played on cello, its darker tone added substituting gravity for chill in the wintry landscape. A concerto originally for viola d'amore, lute and strings has been transformed into one for cello, organ, strings and continuo, with Baroque expert Ton Koopman as transposer and organist (and sympathetic, energetic conductor throughout). And oddest of all, Koopman has created cello solos out of arias (one of which is helped by a perky bassoon) originally composed for female voice from a couple of operas, the oratorio Juditha Triumphans, and the familiar "Laudamus te" from the famous "Gloria." Leave it to these musicians to re-invent Vivaldi with respect and a clear ear for musical values--not to mention sheer entertainment and a forward propulsion which makes it all so invigorating. --Robert Levine« less
The great Yo-Yo Ma has recently (in addition to his world music explorations) moved to the baroque cello, a so-called period instrument, and his transition has been remarkably smooth. He is indeed a musical polyglot, and this CD finds him solidly in the heart of the Baroque period, with music by Vivaldi. In addition to three concerti the composer wrote for cello, there are some fascinating transcriptions. The Largo violin solo from the "Winter" concerto of the Four Seasons is here beautifully played on cello, its darker tone added substituting gravity for chill in the wintry landscape. A concerto originally for viola d'amore, lute and strings has been transformed into one for cello, organ, strings and continuo, with Baroque expert Ton Koopman as transposer and organist (and sympathetic, energetic conductor throughout). And oddest of all, Koopman has created cello solos out of arias (one of which is helped by a perky bassoon) originally composed for female voice from a couple of operas, the oratorio Juditha Triumphans, and the familiar "Laudamus te" from the famous "Gloria." Leave it to these musicians to re-invent Vivaldi with respect and a clear ear for musical values--not to mention sheer entertainment and a forward propulsion which makes it all so invigorating. --Robert Levine