The objective of the Vivaldi Edition, one of the most ambitious recording projects of the twenty-first century, is to record the massive collection of autograph manuscripts by Antonio Vivaldi preserved in the Biblioteca Nazionale Universitaria in Turin. This is made up of some 450 works that were in Vivaldi’s possession at the time of his death and includes operas, hundreds of concertos, sacred compositions and cantatas, most of which have not been heard since the eighteenth century.
The Edition, now in its eighth year, has been a valuable stimulus to further Vivaldi activity, be it films, books and/or other recording projects. Perhaps of greatest importance has been the increase in archival research that it has indirectly stimulated. Since the Edition’s inception in 2000 a surprising number of new pieces have been uncovered and attributed to Antonio Vivaldi as compared with but a trickle of new titles discovered in the twentieth century outside the Foà-Giordano collection.
Presenting the bulk of these latest discoveries alongside the Vivaldi Edition project seemed a natural course to take. On the one hand we have the Foà-Giordano collection in Turin which contains much previously unheard music – hence ‘new discoveries’ – and on the other hand recently unearthed Vivaldi pieces found in archives scattered across Europe. Side by side, these two similar but independent projects contribute to marking the beginning of the twenty-first century as the period of the unveiling of Antonio Vivaldi.
Romina Basso, mezzo-soprano
Paolo Pollastri, oboe
Enrico Casazza, violino
Bettina Hoffmann, violoncello
Modo Antiquo,
Federico Maria Sardelli, flauto dritto e direttore
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