6 in C Minor, The Agony in the Garden: IV.ĭR13 -4.39 dB -20.13 dB 2:59 19-Mystery (Rosary) Sonata No. 6 in C Minor, The Agony in the Garden: III. 6 in C Minor, The Agony in the Garden: II.ĭR10 -11.47 dB -26.42 dB 0:41 17-Mystery (Rosary) Sonata No. 6 in C Minor, The Agony in the Garden: I. 5 in A Major, The Finding of Jesus in the Temple: IV. 5 in A Major, The Finding of Jesus in the Temple: III. 5 in A Major, The Finding of Jesus in the Temple: II. 5 in A Major, The Finding of Jesus in the Temple: I. 4 in D Minor, The Presentation of Jesus in the Temple: Ciacona - AdagioĭR11 -3.96 dB -18.49 dB 0:51 11-Mystery (Rosary) Sonata No. ![]() Variatio - Aria allegro - Variatio - Adagio - ĭR12 -5.88 dB -22.68 dB 0:59 03-Mystery (Rosary) Sonata No. 16 in G Minor, The Guardian Angelįoobar2000 1.6.6 / Dynamic Range Meter 1.1.1Īnalyzed: Amandine Beyer & Gli Incogniti / Biber: Mystery (Rosary) SonatasĭR13 -3.57 dB -20.07 dB 2:01 01-Mystery (Rosary) Sonata No. 15 in C Major, The Coronation of Mary as Queen of Heaven and EarthĤ3. 14 in D Major, The Assumption of Mary into Heaven 13 in D Minor, The Descent of the Holy Spirit 10 in G Minor, The Crucifixion and Death of JesusĢ7. 9 in A Minor, The Carrying of the CrossĢ4. ![]() 8 in B-Flat Major, The Crowning with ThornsĢ2. 7 in F Major, The Scourging at the PillarĢ0. 5 in A Major, The Finding of Jesus in the Temple 4 in D Minor, The Presentation of Jesus in the Temple Variatio - Aria allegro - Variatio - Adagio - (2:01) ![]() Gli Incogniti relish every minute, hurling themselves into the fray with gleeful abandon and scintillating bravado.Mystery (Rosary) Sonata No. ![]() Take the ear-tweaking spatial effects of Concerto for Violin and Oboe in G Minor, RV 576 (Tracks 12-14), or the uproarious hunting calls and onomatopoeic birdsong of the Concerto in F Major, RV 572 (Tracks 21-23), or even the Flute Concerto in E Minor, RV 432 (Tracks 4-5), in which the orchestra falls away entirely, leaving the flute soloist to improvise the second movement over a bassline. The album borrows its title from a concerto for multiple players called Il Mondo al rovescio (“The World Turned Upside Down”), in which the lowest instruments can freely become the highest and vice versa, and so nothing can be taken for granted. Vivaldi’s exuberant invention marks him out as the finest Venetian composer of the 18th century, as is evidenced by this invigorating collection of eight concertos from no-holds-barred period-instrument band Gli Incogniti, directed by Amandine Beyer.
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