The Purcell Quartet
Vivaldi

THE REVIEW

I have already written on these pages about the quality of Vivaldian readings by the ensemble The Purcell Quartet, specifically regarding some performances of the 90s of "Sonatas for 2 Violins and Basso Continuo" published by Chandos.

To verify whether those readings were an exception or not and, if they weren’t, to understand the artistic maturity of a chamber ensemble, I retrieved this Hyperion CD with a similar program but chronologically more distant. 

It consists of 5 "Trio Sonatas" recorded in the studio by the English quartet in September 1985. The program places alongside the well-known Variations on "La Folia" (that is, the Sonata in D minor RV 63 op. 1 no. 12, conveniently in a central position in the CD), 2 "Manchester Sonatas" (RV 754 in C major and RV 758 in A major) and 2 lesser-known Sonatas (RV 74 in G minor and RV 60 in C major).

I do not want to go on about the Variations which, although excellently performed, lack that touch of roughness, genius, and fantasy that should characterize such music. The same recording doesn’t help, characterized by excessive softness that seems to "smooth" the tones.

Despite the few years' difference, we are facing a completely different interpretative level between these recordings and those of Chandos, even with a similar repertoire.

This does not mean that the ensemble is unable to achieve its purpose, delivering cultured and original readings especially of the remaining Sonatas.

Thus emerges the expressive elegance in the "Andante" of RV 74, with the delicate basso continuo of the cello and organ accompanying the responses, slightly in the distance, of the second violin, or the rhythmic cadence of the "Preludio (Largo)" of RV 758 (sample), reminiscent of a regal walk, one step at a time, on a long red carpet (not by chance they are English...) or the freshness, in the typical fluid Vivaldian pace, of the "Allegro" of RV 60.

Although I do not find that vigor and intensity that the four will be able to express a few years later, these recordings nonetheless demonstrate that it's not a matter of chance or luck. It is this intelligence in being able to characterize an interpretation that distinguishes a mid-level artist from one of superior quality. 

I no longer have any doubts about which performers to recommend to those who would ask me about the chamber music of the Venetian Master.