Luca Scandali - La Stravaganza, Op. 4 - COMPACT DISCS [CD]

The concerto played a leading role in the evolution of the language and style of instrumental music from the late 17th century onwards, with it's popularity and importance continuing to grow throughout the 18th century. Antonio Vivaldi (1678-1741) did not invent the concerto grosso or solo concerto, but he can, without a shadow of a doubt, be considered the composer who gave the greatest boost to the genre, turning it into the dominant form of instrumental music in the first half of the 18th century without Vivaldi and his concertos, the history of music would surely have followed a different trajectory. La Stravaganza Op.4 was published in approximately 1714, and it's 12 concerti are almost entirely written for solo violin, with the sole exception of Concerto No.7, which is scored for two violins and cello. The curious title (which literally means 'extravagance' or 'eccentricity') that Vivaldi gave to this collection seems to refer to the early Italian baroque style, which remained dominant throughout the 1600s through to the early 1700s. This particular style sought to move and cajole audiences in various ways, including expert use of eccentric features, trickery and virtuosity, and it's influence was felt in all the 17th century's instrumental and vocal writing. Vivaldi's musical language and style also contained certain 'extravagant' elements, albeit interpreted in his own personal way. Numerous examples of stylistic originality marked a genuine departure from Corelli, while attesting to the bold experimentation and acrobatic virtuosity for which Vivaldi is renowned asymmetry in form; extensive and inventive harmonic progressions; sudden, theatrical breaks; and prominent, fast and virtuosic solo parts. The concertos on this recording come from the Anne Dawson's Book collection, held in the Henry Watson Music Library in Manchester (UK). In addition to arias for v