Al-Bunduqiyya - The Lost Concerto
- Performers: Giovanni Sollima, cello; Federico Guglielmo, violin; Il Pomo d’Oro Orchestra
- Label: Erato
This new album I’d almost missed; it’s a shame I don’t have access to a booklet to explain its provenance. The recurring composer is Vivaldi, who is joined by original works by Giovanni Sollima, the cellist I have enjoyed previously with some of his own music brought together with the baroque sound world. This album features both Sollima’s cello alongside Federico Guglielmo on violin.
This music is all presented theatrically, I think, which is to say it’s being played as if there is an audience present. The Vivaldi pieces presented include:
- Concerto, arr. Sollima, RV 787
- Double Concerto Il Proteo RV 544
- Double Concerto RV 547
- Concerto/Sinfonia Dorilla in Tempe RV 709
- Double Concerto All’Inglese RV 546
In addition, a track by Tartini and another single-movement of Vivaldi ’s ‘Grosso Mogul’ concerto is included alongside the pieces penned by Sollima. Track 27 I believe is mislabeled in my version as by Sollima but it clearly is taken from a Vivaldi concerto; at least the reference isn’t given. The way the piece ends is certainly new.
The freedom through which the musicians here present this music is at once surprising yet refreshing. The base material is all exciting good music but the creative energy of Sollima contributes greatly to his album, not to mention the affective playing by Guglielmo.
It’s hard to take this album in the context of a contemporary concert experience. The non-baroque elements of the music aren’t offensive at all, but they clearly come from “the future” in connection with the baroque genesis of these pieces.
Perhaps the most interesting is the re-written Vivaldi concerto that occupies tracks 3-5. If you ever wondered what Vivaldi might have done given the technology of a time machine? This might be close. It’s exciting as any classical-style album might hope to be.
The sound engineering for this album I think is well done, hitting the mark with soundstage depth, the reverb that is required and yet also the transparency for the soloists. I kept thinking there was a little Karl Jenkins in this concerto, based upon RV 787, but I think the result is even better than the composer of Diamond Music might produce.
I also love the improvisations and how they work to connect the larger orchestral pieces together, offering us a type of soundscape. I also kept thinking of being caught in a Disneyworld ride, as you sit in a car that takes you through various scenes of sight, smell, and visuals to tell you a story. This album might well serve as the soundtrack for such an adventure.
The aforementioned Tartini track here is taken out of its original context; it serves as another connector between the improvisatory-sounding contributions from Sollima that speaks of far eastern origin.
Combined with all the creativity, the musicians here collectively are on top form. This album was a real treat and I can only imagine the effect of this engineered music might have on a live audience used to some familiar favorites.
