The date and personnel on the first recording of The Four Seasons are disputed. There is a compact disc of a recording made by the violinist Alfredo Campoli taken from acetates of a French radio broadcast; these are thought to date from early in Molinari's recording was made for Cetra, and was issued in Italy and subsequently in the United States on six double-sided 78s , in the s. It was then reissued on long-playing album in , and, later, on compact disc. The first American recording was made in the final week of by the violinist Louis Kaufman. The Argo recording by the Academy of St.
Martin-in-the-Fields conducted by Neville Marriner and featuring the soloist Alan Loveday sold over half a million copies; it became the ensemble's first-ever gold record. I Solisti di Zagreb, under the baton of Antonio Janigro with Jan Tomasow as violin soloist and Anton Heiller on harpsichord, followed in on the Vanguard label, further reissued under the Philips and other labels. Wilfrid Mellers , an English music critic, musicologist and composer wrote of this performance, "the soloists phrase their lyricism beautifully.
Janigro reveals his talent for conducting, which competes with his considerable talent for cello playing. I will attempt to convey to you how much this performance means to me, and might mean to you, as well.
What a change it was — a window into a new world; music is fast, precise and true to life, the intonation is correct, the continuo appropriate, and the violin of beautiful sound in fitting correlation with the Zagreb Soloists. The self-assured and fine tone of Jan Tomasow's solo violin relates perfectly with the Soloists; the entire performance is impregnated with the spirit of Janigro's perfectionism, leaving the music and its soul fully exposed.
It had been for a long time the only performance I could listen to. Only during [the] last decade some new kids, playing authentic instruments, have offered to me similar pleasure and insights into the music of Antonio Vivaldi and, to my great pleasure, Janigro's performance is no longer the only choice for me. In my opinion, this also shows how Janigro's performance in co-operation with the Zagreb Soloists was far ahead its time, as corroborated by Igor Stravinsky , who claimed that it was the most beautiful performance of Le Quattro Staggioni he had ever heard, a statement which I only recently learned about.
It was much later that I discovered the excellence of the recording as well. At that time, the Zagreb Soloists were recording for Vanguard, mostly in Vienna at various locations, and this particular recording was made in at Rotenturmstrassaal. Recording was produced by Seymour Solomon, chief producer of the entire edition, who would personally come from the USA to oversee every recording to be made by the Zagreb Soloists, whereas the Vanguard branch in Vienna "Amadeo" was in charge of the organisation.
My gratitude to one of the founders of the Zagreb Soloists, Mr. Janigro was a perfectionist, often rather merciless, not only in matters of music but also in terms of the sound, so he participated directly and intensely in [the] recording process, which was quite uncommon at that time. Nothing I have heard changes my view that the best Seasons ever was performed by Jan Tomasow and I Solisti di Zagreb and beautifully recorded by Vanguard at the very beginning of the stereo era.
If money and space are no obstacle, it might be worth having.
Nigel Kennedy's recording of The Four Seasons with the English Chamber Orchestra sold over two million copies, becoming one of the best-selling classical works ever. By [update] , approximately 1, different recorded versions have been made since Campoli's in Classical musicians have sought distinguish their recordings of The Four Seasons , with historically informed performances , and embellishments , to the point of varying the instruments and tempi , or playing notes differently from the listener's expectation whether specified by the composer or not.
Derivative works of these concerti include arrangements, transcriptions, covers, remixes, samples, and parodies in music—themes in theater and opera, soundtracks in films or video games , and choreography in ballet along with contemporary dance, figure skating, rhythmic gymnastics, synchronized swimming, etc. This contest between harmony and invention as it were now involves various genres around the world:. From Wikipedia, the free encyclopedia. Set of four violin concertos by Antonio Vivaldi. Concerto No. Allegro non molto. Adagio molto.
Portland, Oregon: Amadesu Press.
Yale University Press. Cambridge: Cambridge University Press. Los Angeles Chamber Orchestra. Weer een meesterwerkje van Podger en Channel Classics. Dan is er het speelplezier dat van deze uitvoeringen afspat, soms bijna improvisatorisch en het risico niet schuwend. Kort samengevat is dit een prestatie van de bovenste plank. Het is alweer behoorlijk lang geleden dat Channel Classics in het sacd-formaat uitbracht, maar dit is er weer een om te koesteren: geen overdreven afbeelding in 5. Wat heb ik genoten van deze concerten! This generously filled CD contains imaginatively interpreted, superbly performed Baroque concerti of the high standard we have to come to expect from these exceptional musicians during the year in which Rachel Podger will celebrate her 50th birthday.
I have no hesitation in making this disc our CD of the Month and, even if you already own one or more versions of The Four Seasons, I would urge you to go out and buy this refreshing new account. Diapason [Diapason d'Or]. In short, a sound that lives.
This could have been the shortest review I ever wrote, even in my regular Second Thoughts and Short Reviews round-ups. Quite simply put, this is now one of the top recommendations in a very competitive field, among the top two or three on period instruments and at least equal with my top choice on modern instruments. Needless to say Podger's peerless execution of the solo part in each concerto is beyond reproach. Jude's Church, London … a fresh, uplifting account of Vivaldi's ubiquitous masterpiece performed impeccably by one of the world's finest period violinists and recorded in state-of the art sound.
What more needs to be said?
Podger ist und bleibt die Solistin, ihr Violinspiel ist magisch und magnetisch zugleich. Aber, und das ist so entscheidend wie wichtig, sie spielt aus der Gruppe heraus! Es ist ein Oktett, welches hier agiert, jeder ist gleich wichtig. At any rate, Podger and her musicians produce a remarkably colorful performance, and fill out the rest of the album with three more violin concertos, Il Riposo per Il santissimo Natale, L'Amoroso, and Il Grosso Mogul, which give new listeners a chance to explore less familiar Vivaldi.
Channel Classics recorded this album in St. Jude's Church, London, and the resonant but unobtrusive acoustics contribute to the group's vibrant sound. Highly recommended. A gorgeous disc. She and her Brecon players see these concertos not as orchestral but as chamber music. Yet there is no lack of power in the big tuttis when the Spring dances are interrupted by downpours or the Summer storm breaks into balmier weather. This Vivaldi has an improvisatory quality, making you listen with cleansed ears.
Podger, who plays with and directs her superb ensemble of eight, isn't interested in knocking you over the head with pyrotechnic wizardry or some bizarre 21st century take on Vivaldi's Top Hit of Instead, her sole desire, masterfully enabled by engineer Jared Sacks, is to honor the humor, invention, good spirits, and marvelous interplay of colors that have made Vivaldi's irresistibly tuneful concerto a perennial classic.
It's the playing, however, that puts Podger's version over the top. However, those words do feel especially pertinent for Rachel Podger's Vivaldi Four Seasons, which she has finally put on disc in her 50th-birthday year, joined by her superlative one-to-a-part ensemble of fellow period-instrument leading lights, Brecon Baroque. It's not just that the actual playing is superb: serene virtuoso fluency from Podger, gorgeously supported by her colleagues, with some especially fine chamber matching from violinists Johannes Pramsohler and Sabine Stoffer.
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It's also that this is something genuinely, effortlessly and naturally different. At the nub of this triumph is the thought that's gone into timbre and balance across the four concertos, because I've never heard their every twist and turn served up as quite the succession of changing sound worlds as appears here. Take Spring's ear-catching central Largo: while Brecon Baroque are hardly the first ensemble to place a spotlight on that barking-dog viola, it's less usual to hear the solo violin as far back as Podger has been placed, or the viola's crescendo at the end.
It's then all change again for the final Allegro, Jan Spencer's violone cranking up the drone effect to especially zinging levels, complemented by the subtlest of peasanty inflections from the violins. Other notable expressive detailing include the bringing out of Daniele Caminitti's expressive theorbo-playing in Summer's opening movement, where also to be savoured are the wistful inflections with which Podger has coloured her tight trills.
Also the way she stretches out the central Adagio's final top G to almost hit the dramatic final-movement thunderstorm, itself brilliantly coloured with sul ponticello effects. Then there's the soft organ and theorbo continuo underpinning Autumn's buoyant, luminously ringing first movement. Or, perhaps most glorious of all, Winter's fireside Largo: a luxuriously tactile, tranquil feast of glowing ensemble raindrops whose beauty caught me completely off guard, topped by Podger's sensitively embellished solo line.
Podger and her team have been generous too, adding three further Vivaldi concertos, all of which have been realised with an equal ear to the scorings' possibilities for timbral flair. Even had they not done, though, this still would have been a Four Seasons to covet and keep. The listener experiences colors, a tangible translation of the weather, human warmth and vulnerability. Hide extended text You've Selected: antonio-vivaldi.