Tír Na HiFi

bombasticDarren wrote: I wonder if anyone has a view on Italian ensembles' readings of this work in comparison to those fromother countries. Is there a difference in approach?

That is a very good point Darren and one that I had not considered before. I love Biondi's approach but I have not heard the Alessandrini version referred to by Jared above.

fergus wrote:

Jared wrote:

That is one of my favourite versions.

I like it too

fergus wrote:Do you know that the Four Seasons was not written as a standalone work but rather is part of a bigger work altogether? The Four Seasons are part of a set of twelve concertos published under the title of “Il cimento dell’armonica e dell’inventione, Op. 8”; the title suggesting a trial of strength between harmony and invention. I do not know which element comes out on top; both elements are very well represented. Ultimately, however, I think that the music is the overall winner which is as it should be.

Something which Fergus alluded to in his opening remarks was that the Four Seasons were the first four Concerti in a set of 12, Op.8. It is rather strange how the full set is so infrequently recorded. Christopher Hogwood's landmark (for the time) 1983 HIP set of the Four Seasons I posted about earlier was originally recorded as part of the full suite, but sadly all the subsequent re-issues of this work only included the 4S themselves; the original CDs now going for silly money.

Anyway, if any forum members have a particular love for these works, and wished to hear high quality performances within their original context, then please click here:

http://www.amazon.co.uk/Vivaldi-Concert ... 45&sr=1-23

The Avison Ensemble have released an HIP version on Linn as a hybrid 2CD/ SACD hybrid which has received some very good reviews.

This version is performed by the Chamber Orchestra of Europe with Marieke Blanksetijn in the dual role of soloist and director. It was recorded in 1994 and I came across it some time ago. These performances have a lightness of touch in the playing resulting in light, transparent textures. We also have sprightly playing from both the soloist and the orchestra and the music lilts along joyously as a result. Everyone plays very well and Blankestijn is a very good soloist. There is great bite in the orchestral playing; they can really attack the music in places giving great thrust and momentum to the performances. The final concerto “Winter” is particularly evocative and effective being quite sharp and biting. One can really feel the cold and ice in the outer movements!
This is a really enjoyable performance from all concerned and once again it comes with a high recommendation due to the quality of the playing throughout.

The CD also contains two other violin concertos namely “La Tempesta di mare” or Storm at sea and “Il Piacere”, Pleasure.

while we have detoured slightly onto suitable recordings, I have found this rather interesting little article about t4S. Focus especially on the section which talks about the history of recording these works, about 1/3 of the way down, from the paragraph commencing:

The history of Seasons recordings is one of radical evolution as fascinating as the work itself.

http://www.classicalnotes.net/classics/vivaldi.html

of course, this is only one man's (Peter Gutmann's) view, but an article highlighting the key recordings from the past 60 or so years together with their deviations in style to suite the relevant tastes of the day is indeed an interesting one, I think you'll agree.

Jared wrote:while we have detoured slightly onto suitable recordings, I have found this rather interesting little article about t4S. Focus especially on the section which talks about the history of recording these works, about 1/3 of the way down, from the paragraph commencing:

The history of Seasons recordings is one of radical evolution as fascinating as the work itself.

http://www.classicalnotes.net/classics/vivaldi.html

of course, this is only one man's (Peter Gutmann's) view, but an article highlighting the key recordings from the past 60 or so years together with their deviations in style to suite the relevant tastes of the day is indeed an interesting one, I think you'll agree.

That was a very good read....a great find Jared!

This is the first of my complete sets of Vivaldi’s Opus 8 from which the Four Seasons is taken (Il cimento dell’armonica e dell’inventione). On this recording we have the Raglan Baroque Players directed by Nicholas Kraemer and Monica Huggett as soloist. This recording was made back in 1989/90. The playing from both the soloist and the orchestra is very fine and it is also well recorded. The production has a full and warm sound. Speeds can be brisk and the music can be attacked aggressively in places which results in a good sense of drama (particularly in the storm scenes). One minor detail which stands out for me and which I particularly like in this recording is the prominence, in places, of the lute. This gives a lovely intimate feel to the performance I think.

The 2 CD set comes recommended particularly as it contains the complete set of 12 concertos along with 2 others for good measure.

Just by way of interlude I would like to show this version. It is performed on recorders and although it is in the novelty category it is one that I have always liked due to my liking for recorders in general. Obviously the textures are very light but that allows for the main melodies to be focused on and obviously a recorder quartet does not have the weight or authority of a small orchestra so lots of the drama is not there (e.g. storms) but I have always liked it and I still find it intimate and intriguing.

^^ it would certainly be interesting to learn how many releases T4S have had, using less conveniuonal instruments... I mean to say, it says something about the enduring popularity of these pieces, that a record company thinks there is a sufficient market out there for a version played on kettledrums or Simon's organ...

Jared wrote:^^ it would certainly be interesting to learn how many releases T4S have had, using less conveniuonal instruments... I mean to say, it says something about the enduring popularity of these pieces, that a record company thinks there is a sufficient market out there for a version played on kettledrums or Simon's organ...

James Galway did one (on the flute obviously):



I hope never to hear it!