Album insights
Following Vivaldi's death in Vienna on July 27 or 28, 1741, his family faced the significant task of selling Vivaldi's extensive collection of manuscripts, mainly his own works along with secular music by other composers. By 1745, these manuscripts were under the possession of the Venetian bibliophile Jacopo Soranzo, residing today in the collections of Foà and Giordano in the National Library of Turin in twenty-seven volumes. Interestingly, these volumes lacked a significant number of any sonatas, especially for solo instruments and bass, raising speculations about their possible separation and subsequent loss, impacting the assessment of the numerous cello sonatas composed by Vivaldi throughout his career.
Evidently, Vivaldi's familiarity with cello techniques and idiomatic qualities was profound. During his time, most musicians possessed a working knowledge of all instruments within their group. Moreover, as the sole string instrument instructor at the renowned Ospedale della Pietà orphanage in Venice for several years, Vivaldi was well-connected to proficient cellists, potentially providing concerts and sonatas. Despite Vivaldi's rising reputation as a composer, specific cello sonata commissions appeared limited, possibly due to a niche market for cello music during that era.
Notably, three collections of Vivaldi's cello sonatas are documented: one primary collection containing six works housed at the National Library in Paris. This manuscript likely served as a template for an edition of the same works published by the Parisian editor Charles-Nicolas Le Clerc. The consistency in the structure of these sonatas derives from their simultaneous composition. The sonatas consistently follow a slow-fast-slow-fast movement sequence with marked contrasts and energetic tones, steering away from conventional church or chamber music models.
Recognizing the unique qualities of the cello as a solo instrument, Vivaldi imbued his cello compositions with both technical innovations and emotional depth. These sonatas, distinctive for their intricate rhythmic patterns and expressive nuances, revealed Vivaldi's profound understanding of the cello's capabilities and resonant qualities. The varied interpretations of the accompaniment instrumentation in these sonatas have sparked numerous speculations among publishers and musicians, with different combinations such as harpsichord, cello, chamber organ, theorbo, archlute, and baroque guitar being considered in modern recordings to capture the rich tapestry of late Baroque musical styles.
In summary, Vivaldi's groundbreaking approach to cello composition not only showcased the versatility of the instrument but also underscored his innovative musical spirit, weaving technical brilliance with emotional depth to craft a compelling repertoire of cello sonatas that resonate profoundly with audiences to this day.