Vivaldi: La Cetra, Op. 9 - Orchestra of Accademia Monteverdiana, Denis Stevens

Vivaldi's La Cetra (meaning, symbolically, "The Lyre') was published for the first time in Amsterdam in 1728, and was dedicated to the Austrian Emperor, Charles VI. In his dedication, the composer says that he is not only following a laudable and old-established custom in submitting his work for the approval of a monarch, but also reminding the public that His Majesty Charles VI is a most generous and beneficent protector of the fine arts. Doubtless, Vivaldi wished to draw a flattering comparison between the Hapsburg Emperor Charles as protector of the arts and the Greek God Apollo as leader of the muses; and so he chose the lyre (the divine instrument of classical antiquity) as the title for his twelve concerti. 

The concerti were published in two books of six, eleven of them for one solo violin, and only one, the Concerto No. 9, B Flat Major, for two solo violins, all with strings and continuo. Although they were eagerly sought after during the mid-eighteenth century by courts throughout Europe, only very few copies have survived to the present day. The edition being used here has been prepared by Denis Stevens from a set of parts in the British Museum, London. The twelve concerti follow in broad outline the pattern of the previous set (Op. VIII) written a few years before. As was usual in those days, imitators set to work without delay, and one of their number - Alessandro Marcello even borrowed Vivaldi's title. It is probable that Vivaldi wrote La Cetra whilst in Vienna, for he was then at the height of his career, being esteemed as much for his compositions as for his playing. The key-scheme of the set considered as a whole gives some ground for supposing that the concerti were played in two units corresponding to the two books of parts, and the climactic effect of the scordatura in the last set of six affords further evidence of Vivaldi's intentions.