Luogo e data di registrazione		(luogo di registrazione non indicato) - 1963
	Registrazione: live / studio		studio
	Producer		Wolf Erichson
	Prima Edizione LP		Telefunken "Das Alte Werk" | SAWT 9426-B (Stereo) - AWT 9426-C (Mono) | 1 LP - durata 43' 30" | (p) 1963 | ANA Telefunken "Das Alte Werk" | SAWT 9426-B | 1 LP durata 43' 30" | (p) 1963 | ANA | Riedizione Telefunken "Aspkte" | 6.41321 AH | 1 LP durata 43' 30" | (p) 1975 | ANA | Riedizione
	Edizione CD		Non si è a conoscenza di una ripubblicazione in Compact Disc
	Cover		-
	Note		-

Among the works comprising this recording the Concerto in D minor from the Opus 3. the "Estro armonico" printed around 1715, is the oldest in character; at the same time, however, it is also one of the most important of Vivaldi's early works. and in Bach's magnificent transcription for organ (BWV 596) it already attained well-earned fame at the beginning of this century. Formally it is still closely related to the four-movement church sonata. An impetuous toccata-like introduction by the 'concertino' is followed by a mournful fugue in 'concertante' style. A fervent Siciliano dominated by the cantilena of the first solo violin forms the centrepiece of the work, and the finale consists of a ‘concertante‘ Allegro which, in its turbulent motion and austere chromaticism once more takes up and intensifies the attitude of the first movement. The Concerto in C major for Descant Recorder ("Ottavino") is, in its regular plan and its uncomplicated joy in music-making, a specimen of the new type of concerto. The middle movement, a delicate Siciliano with a graceful flute cantilena over gently luminous, sustained string chords, is the most impressive part of the work; the finale seems to strike up the boisterous strains of a popular song in the trill motifs of the tutti theme. The three remaining concertos on this record are purely string orchestra concertos without any soloists, descendants of the Italian opera sinfonia Vivaldi's works in mus style point far ahead into the future, completing the transition from the three-movement operatic prelude to the purely concert symphony and already providing first beginnings for the development of the later sonata form in the ternary aria form (ABA) of the outer movements. The splendid G major Concerto ‘alla rustica" is quite revolutionary in tone: rustic folk music is not represented here as in a genre picture, from a distance and slightly condescendingly, but is directly exploited as a source of musical power. The outer movements race along eruptively with theirfolk music themes and their truly ‘bucolic’ sturdiness, and the short Adagio is only an extended cadence during which composer and listener can "regain their breath" for a moment. The A major Concerto is more refined and conservative, and also more differentiated in the arrangement of its movements. the outer movements already making use oft hematic contrast. Not until the last movement does the folk song element break through with elementary force once more. An entirely different Vivaldi, engrossed in his own ideas and melancholy, comes to light in the C minor Concerto. The mournful, dignified  of the opening movement is followed by a brooding Largo full of imitation, which stands in close thematic relationship to the first movement. The work endswith a large-scale ‘concertante' fugue which in technique and expression is a counterpart to the second movement of the D minor Concerto. Such melancholy works as this can be a healthy influence in preventing us forming a one-sided picture of an ever-gay Vivaldi who is nothing more than a darefree music.maker.