Whenever I stop to think about it I’m always amazed that despite the fact that he was so influential particularly regarding the concerto form’s development that contemporary string musicians paid so little heed to him. There’s no "school of Vivaldi" consisting of violinists or players of other stringed instruments. The only exception to this rule is Pisendel who came to know and admire Vivaldi during his five-year sojourn in Venice and brought home with him to Dresden several scores consisting of sonatas and concertos. To the best of my knowledge and belief these were never published and surviving only in manuscript form they’ve been rather neglected. They’re warm and interesting pieces of music in which you can clearly hear a fusion of Vivaldi’s originality with Corelli’s somewhat greater formality both in form such as for the most part following Corelli’s four-movement outline and to a lesser extent echoing his musical language. Enjoy :-).
Video Source: A. Vivaldi: Dresden Sonatas [F. Biondi-R. Alessandrini-M.Naddeo] – YouTube. Published on Dec 8, 2013 by Dramma per musica.
- Sonata for violin & continuo in G minor, RV 26 [Adagio-Allegro-Adagio-Allegro-Giga]
- Sonata for oboe (or violin) & continuo in B flat major, RV 34 6 [Adagio-Allegro-Largo-Allegro]
- Sonata for violin & continuo in C minor, RV 5 10 [Andante-Allegro-Largo-Allegro]
- Sonata for violin & continuo in D minor, RV 15 14 [Largo-Allegro-Allegro]
- Sonata for oboe (or violin) & continuo in G minor, RV 28 [Largo-Allegro-Largo-Allegro]
- Saraband, for violin & continuo in C major (from Dresden Manuscript) [Allegro]
- Maurizio Naddeo (violin cello)
- Rinaldo Alessandrini (harpsichord)
- Fabio Biondi (violin)