As I listened to them, however, I discovered that Sarah Chang and the musicians of the Concert de la Loge weren’t just playing in a different style than the earlier recordings they were sometimes playing different notes. We could say that these latter two recordings have a more Baroque character-that they are more HIP. Finally, here is a period-instrument performance by violinist Julien Chauvin with the Concert de la Loge. But for the most part, newer recordings are fast and crisp, such as this one by Sarah Chang. I even found a fairly recent example of this style, by Boris Kuschnir. In addition to Elman’s performance, another Romantic-sounding interpretation of the Vivaldi G minor concerto is that of Itzhak Perlman. Furthermore, Suzuki’s biography claims that he was inspired to learn the violin as an adult after hearing a recording of Elman playing the Schubert Ave Maria. Suzuki and Elman were near contemporaries (Elman was born in 1891 Suzuki in 1898), so I suspect that it was the Elmanesque style of playing that got transmitted in Suzuki pedagogy. Because of the challenges in the fast movements, this is probably the most difficult of the Opus 10 concertos, too.The Nachèz editions of these two Vivaldi concertos, A minor and G minor, are the ones included in the Suzuki repertoire (A minor in Book 4, G minor in Book 5). Moreover, the second and fifth movements have descriptive titles, respectively “Fantasmi” (“Ghosts”) and “Il Sonno” (“Sleep”).
“La notte” is unique among the Opus 10 concertos: in fact, it is the only one in a minor key, and the only one to have six movements, while all others just have three. These jewels of his Opus 10 have been ever since amongst the composer's best-known works, and rightly so: the engaging chirping of the Goldfinch (“Il Gardellino”), the turbulent Storm at sea (“La tempesta di mare”), and most of all the unforgettable ghosts and nightmares of Night (“La notte”) are eloquent proof of his unequalled ability to conjure up an atmosphere in just a few bars. In 1728, when the publisher Le Cène ordered six concertos for transverse flute, Vivaldi went to no great trouble to supply them: he merely transcribed several existing recorder concertos. By Antonio Vivaldi, arranged for solo Flute
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