In keeping with its name, Concerto Italiano performs a program of, well, Italian concertos, including one influenced by Italian style, J.S. Bach’s (ahem) Italian Concerto, arranged by director Rinaldo Alessandrini for violin obbligato and strings. It seems that he thought it would be interesting to turn a keyboard piece back into a violin concerto that Bach may have written–and it actually works as a legitimate solo turn for violinist Francesca Vicari, and as an intriguing alternative listening experience for all keyboard players who know the commonly performed original version. Alessandrini and his colleagues also perform Vivaldi’s popular Op. 3 No. 11 concerto–and it’s here that I differ with the interpretive concept.
When the period-instrument movement really got going in the 1980s, it was actually refreshing to hear the stepped-up tempos that seemed to mark every performance–a pleasant and often eye-opening change from the often heavy, sluggish readings we’d come to accept as the norm. But now, such treatments that, like this one, give the impression of speed for speed’s sake, not so subtly suggest that it’s all about the performers, the music be damned. Sorry, but compared to Christopher Hogwood and the Academy of Ancient Music’s rendition (L’Oiseau Lyre) or I Musici’s (apparently out-of-print) 1983 performance (Philips)–not to mention the Swingle Singers’ marvelous, intelligent interpretation of the first movement, also on Philips–this one just sounds frantic, the ferocious, aggressive bowing style and extreme rush of notes in the allegros amounting to one big distraction rather than a musically honest, reasonable interpretation. The same goes for the allegro and presto in the Bach piece.
Okay, so much for the fast stuff. In general, these first-rate musicians treat the material with care and sensitivity to style and nuance–as in the effectively rendered atmospherics of Vivaldi’s “La Notte” concerto and the characterful, engaging dramatic utterances in the G minor “La Stravaganza” selection. Yes, Rachel Podger’s performance of the latter work (Channel Classics) may be more durable, but violinist Antonio De Secondi’s rendition of the Largo is undeniably lovely in every turn and inspired, heartfelt ornament. One thing you can say for sure is that there are no dull moments on this program–a typical feature of Alessandrini/Concerto Italiano performances–and the sound is excellent. Whether you will want this or not depends on how you like your Baroque concertos. If you like ’em flashy, feisty, and perhaps a little overly flamboyant, this one’s for you.
