Vivaldi, l'âge d'or Marianne Piketty & Le Concert Idéal

• Antonio Vivaldi (1678 - 1741): Sinfonia for Strings and Basso Continuo "La Verità in Cimento" in G Major, RV 739:
• 1 Vivaldi: Sinfonia for Strings and Basso Continuo "La Verità in Cimento" in G Major, RV 739: I. Allegro 02:05
• 2 Vivaldi: Sinfonia for Strings and Basso Continuo "La Verità in Cimento" in G Major, RV 739: II. Andante 02:21
• 3 Vivaldi: Sinfonia for Strings and Basso Continuo "La Verità in Cimento" in G Major, RV 739: III. Allegro (Diminutions by Olivier Fourés) 01:10
• Barbara Strozzi (1619 - 1677): Lagrime mie (Diminutions by Olivier Fourés):
• 4 Strozzi: Lagrime mie (Diminutions by Olivier Fourés) 03:08
• Antonio Vivaldi: Violin Concerto in B Minor, RV 390:
• 5 Vivaldi: Violin Concerto in B Minor, RV 390: I. Adagio - Andante molto - Allegro non molto 06:03
• 6 Vivaldi: Violin Concerto in B Minor, RV 390: II. Larghetto (Cadenza by Olivier Fourés) 03:01
• 7 Vivaldi: Violin Concerto in B Minor, RV 390: III. Allegro 03:32
• Sonata a Quattro "al Santo Sepolcro" in E-Flat Major, RV 130:
• 8 Vivaldi: Sonata a Quattro "al Santo Sepolcro" in E-Flat Major, RV 130: I. Largo molto 02:09
• 9 Vivaldi: Sonata a Quattro "al Santo Sepolcro" in E-Flat Major, RV 130: II. Allegro mà poco 02:08
• Francesco Turini (1595 - 1656): Sonata a tre "Il Corisino" (Arr. for Orchestra by Olivier Fourés):
• 10 Turini: Sonata a tre "Il Corisino" (Arr. for Orchestra by Olivier Fourés) 03:47
• Antonio Vivaldi: Concerto for Violin and Cello in G Major "per Chiaretta e Teresa", RV 814 (Reconstruction by Olivier Fourés):
• 11 Vivaldi: Concerto for Violin and Cello in G Major "per Chiaretta e Teresa", RV 814 (Reconstruction by Olivier Fourés): I. Allegro 04:03
• 12 Vivaldi: Concerto for Violin and Cello in G Major "per Chiaretta e Teresa", RV 814 (Reconstruction by Olivier Fourés): II. Larghetto e Siolté 02:37
• 13 Vivaldi: Concerto for Violin and Cello in G Major "per Chiaretta e Teresa", RV 814 (Reconstruction by Olivier Fourés): III. Allegro 02:38
• Tomaso Albinoni (1671 - 1751): Sinfonia in G Minor, Si 7:
• 14 Albinoni: Sinfonia in G Minor, Si 7: I. Allegro 02:03
• 15 Albinoni: Sinfonia in G Minor, Si 7: II. Larghetto 00:58
• 16 Albinoni: Sinfonia in G Minor, Si 7: III. Allegro 01:09
• Marc'Antonio Ziani (1653 - 1715): Sinfonia in C Minor "del Sepolcro":
• 17 Ziani: Sinfonia in C Minor "del Sepolcro" 04:17
• Domenico Gallo (1730 - 1768): Sonata No. 2 in F Major:
• 18 Gallo: Sonata No. 2 in F Major: II. Allegro non molto 01:51
• Antonio Vivaldi: Concerto in D Major, RV 562:
• 19 Vivaldi: Concerto in D Major, RV 562: II. Grave 03:44
• Concerto for 4 violins in B-Flat Major, RV 553:
• 20 Vivaldi: Concerto for 4 violins in B-Flat Major, RV 553: I. Allegro 03:17
• 21 Vivaldi: Concerto for 4 violins in B-Flat Major, RV 553: II. Largo 02:46
• 22 Vivaldi: Concerto for 4 violins in B-Flat Major, RV 553: III. Allegro 03:40
• Concerto for strings in G Minor, RV 157:
• 23 Vivaldi: Concerto for strings in G Minor, RV 157: I. Allegro 02:07
• 24 Vivaldi: Concerto for strings in G Minor, RV 157: II. Largo 01:37
• 25 Vivaldi: Concerto for strings in G Minor, RV 157: III. Allegro 02:05
• L'Incoronazione di Poppea, SV 308, Act I Scene 6:
• 26 Monteverdi: L'Incoronazione di Poppea, SV 308, Act I Scene 6: Basso di ciaccona (Diminutions by Olivier Fourés) 01:29
• Total Runtime 01:09:45

Info for Vivaldi, l'âge d'or

In the golden age of Italian music, during the Baroque era, Venice shone brightly and the artistic abundance that reigned there at the time is still celebrated today. Marianne Piketty and Le Concert Idéal go off the beaten track by proposing rarer, even unpublished works by the author of the Four Seasons.

Marianne Piketty and the Ideal Concert, with the help of numerous unpublished practical documents, embark on the adventure of a journey to the heart of this Venetian school, where so many musical currents, sometimes antagonistic and anachronistic, have rubbed shoulders and let everything and its opposite germinate, without tension. From the virtuoso fevers of Vivaldi to the solemnity of Ziani, from the affects of Strozzi to the dances of Turini, saluting the majestic impetus of Gallo (whose music served as the basis for Stravinsky’s Pulcinella), Le Concert Idéal lifts the veil on a domain where reason often gives way to the senses and the force of the imagination. With a setting in space and movement imagined by the choreographer Olivier Fourés, musicologist and Vivaldi specialist, Le Concert Idéal celebrates the Venetian school with rare (sometimes unpublished) works, for a vibrant tribute to the sound mosaic of the Italian city:

«In the 17th and 18th centuries, music was everywhere in Venice, from temples to lounges, including bedrooms, streets, theaters, canals, ships and gardens. So many sets, to which is added a famous tradition: polychorality, that is to say the division of choirs and orchestras in different areas around the audience, in roundabout galleries, behind curtains, trees or fountains, behind the scenes or against the light.

The staging of a Venetian program is, in a way, an essential condition for fully enjoying its musical spirit.»

Vivaldi, the golden age: «L’esprit de cette Venise baroque où la musique est partout, des temples aux salons en passant par les chambres, rues, théâtres, canaux, navires et jardins.» (The spirit of this baroque Venice, where music is everywhere, from temples to rooms, streets, theaters, canals, ships and gardens), writes Marianne Piketty about the program of her new album.

When the musician speaks of esprit, this is also the first impression one has from the beginning, right after the first notes of a Sinfonia by Antonio Vivaldi.

At first, once again, the creative spirit of Vivaldi amazes. However, one is no less fascinated by Marianne Piketty and Le Concert Idéal, who play grippingly from the first notes. The flood of ideas, the rhythmic momentum, the many timbres burst upon the listener almost like an attack. The many impressions drag you along, like the current of the Canale Grande in Venice.

Virtuosity, a lot of drive, an irrepressible energy, sharp edges and the necessary sensitivity in the slow movements as well as a generally improvisatory ductus: Le Concert Idéal reflects in its interpretations the bustling and pulsating life of the trading city of Venice in the 18th century.

Marianne Piketty, violie
Le Concert Idéal

Marianne Piketty
Density, ardor, virtuosity, interiority and generosity.

Here are the glowing terms with which the press welcomes Marianne Piketty. From Bach to Piazzolla, from the Baroque reduction to contemporary creation, the violinist Marianne Piketty develops a career as dynamic as versatile: solo appearances, in recital, at the head of an ensemble, as well as in her numerous chamber music projects.

A graduate of the CNSM in Paris and the Juilliard School of New York, she is one of the heirs of the classical violin tradition thanks to her training with great masters such as Itzhak Perlman and Yehudi Menuhin.

In 2013, Marianne Piketty gathered around her Le Concert Idéal, a variable geometry ensemble of international soloists and chamber musicians from horizons as diverse as specialized, who use all their resources to explore music from all angles, over time and space but also its relationships with literature, theater and dance.

Artist as charismatic as essential, Marianne Piketty is distinguished in particular by an extraordinary desire to undertake, an inexhaustible taste for new meetings and performance, always with in the heart the will to share and the spirit of the collective. Rigor, exacting standards and surpassing oneself are the watchwords of a violinist who practices her instrument at a run, at the rhythm of an athlete.

Marianne Piketty plays a Venetian violin by Carlo Tononi dated 1685.

Booklet for Vivaldi, l'âge d'or