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Antonio VIVALDI (1658-1741)
The Four Seasons Concerto in E major, op.8 no.1 RV269 "La primavera" (Spring) Concerto in G minor, op.8 no.2 RV315 "L'estate" (Summer) Concerto in F major, op.8 no.3 RV293 "L'autunno" (Autumn) Concerto in F minor, op.8 no.4 RV297 "L'inverno" (Winter)
Concerto for 3 violins in F major, RV551
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directed by Christopher Warren-Green (solo violin)
VIRGIN Classics "Duo" (EMI) VBD5 61466-2
2 discs [60:47 + 55:16] superbudget-price
(2 CDs for the price of one mid-priced CD)
Sonnets not included. Recorded in 1989-90.
by Chia Han-Leon
Virgin (which is under EMI Classics) is the newest label to jump onto the "Duo" bandwagon, except that this is 2 CDs for the price of one mid-priced CD! This recording of the Four Seasons has already been praised elsewhere for its originality and musicality. Previously available on the mid-priced Virgin Ultraviolet series (sporting some of the coolest covers in the catalogs), this now comes with a host of Vivaldi's various instrument concertos.
In the slow, softer sections, as in the "Country Dance" of Spring and the opening of Summer, with its floating breezes, the London Chamber Orchestra produces a cool and evenly textured tone that is very pleasing to the ear. Although some tempi in this Four Seasons are very fast, they do not feel fast, perhaps due to the tonal ease with which the performers pull off the music and their impeccable control of the music's pulse. Still, I think the hectic finale of Summer will surprise many! The orchestral string lines during the gushing "wind" sections in Summer for example, are full and clearly articulated. Encouraged by Warren-Green's timid tone in the second movement, the background of gnats and flies seem all to keen to buzz around in the summer heat of the orchestra.
The performers strike a happy balance between rhythmic bounce and legato in the opening dance movement of Autumn. The slight shifts in tempo and Warren-Green's odd belch in the violin tone seem to testify to the effects of the increasing amount of liquor imbibed by the villagers! As the orchestra hushes up, Leslie Pearson on the harpsichord plays a lullaby over the stupor of sleep that has overwhelmed the revelers. The harpsichord produces a guitar-like tone on (what I think is) a single manual (keyboard; a harpsichord is often equiped with two), which is beautifully contrasted to the melody on the other hand. "The Hunt" is a somewhat heavy-going on the string tone, and in this movement the LCO lacks the greater spontaneity of what has gone by. What is interesting is the slapping of the bows(?) on the soundboards(?) of the instruments, creating a percussion effect to imitate the hunters' gunshots.
On the rest of the first CD and the second are various Vivaldi concertos. I'll try to be brief. The first CD ends with a fine Concerto for Three Violins RV551 (if a just slightly sluggish), and a very spirited and committed performance of the rightly famous Concerto for Four Violins RV580, which Bach was so impressed with he transcribed it into a Concerto for Four Harpsichords.
I'm a period instrument freak so I tend to brush off the use of modern brass in Baroque works as "the easy way out". An unfair thing to say, of course, but nevertheless, I still prefer the bright ringing tone of the Baroque (valveless) trumpet, compared to which the modern trumpet sounds like some mellow sissy. Still, the Double Trumpet Concerto in C major RV537, here enjoys a sane performance. But here, Leslie Pearson even takes the solo melody into his own hand in the slow movement of this concerto (trumpets not involved), played with great feeling, not unlike some Romantic concerto. His decorating presence in the finale delightfully adds to the happy cavorting of the trumpets.
The elegant and philosophical Oboe Concerto in C major RV447, is given a wonderfully poised performance. Here modern instruments, with their clean lines and tones, dust off any trace of edginess, revealing Vivaldi afresh. The dark C minor Cello Concerto RV401 which follows is a solemn cousin to the Oboe Concerto by way of key. It reveals an emotionalism that many people seem to overlook.
A wonderful (and very inexpensive) collection which will not only plug the Four Seasons hole in any collection, but throws in several more concertos to whet your appetite.
Anyway, this is a sparkling account of the Four Seasons, evident from the opening Spring concerto. The sunny tone and clean voice of Christopher Warren-Green's violin solos is matched completely by the energetic and unified orchestra. It isn't long before you realise that this is another group with a happy-go-lucky harpsichordist in the continuo, more than pleased to decorate the background with complete and lighthearted melodies. You can hear this in the first and last movement of Spring. The sleeping shepherd of the middle movement is by contrast somnabulent and tranquil, with a softly barking viola.
So far Leslie Pearson has been decorating the score throughout, but it is in the opening movement of Winter where his contributions are the most surprising. He virtually steals the limelight from Warren-Green with his improvised melodies and dramatic flourishes of trills and scales. It's like an arioso recitative from a Baroque opera! Speedy tempo marks this movement, and I welcomed back the energy of the earlier movements. In the "Winter Largo", the pizzicato of the strings is joined again by the "guitar"-voice of the harpsichord. Warren-Green completes the cosy picture of warm fire and hot drink with a gentle and aristocratic account of this melody (which in my opinion, is as timeless as it is as beautiful as Bach's Air). Still full of tricks, a chamber organ makes a surprise appearance in the final movement, completely draining the chill from the winter!
Things brighten up with the Bassoon Concerto in B flat major RV502. Vivaldi wrote 37, and thus single-handedly revolutionised this genre. Modern bassoonists still entangle their fingers playing these, wondering how a Baroque bassoonist (with their much simpler instruments) managed all these Vivaldian acrobatics. This isn't to say that our bassoonist here has any difficulties, although I sort of wished he had a little more fun in the fast movements. The second movement, a melancholic lullaby, is reminiscent of the "sleep" movements of the Four Seasons. The CD ends with a very fine and intent (in the Larghetto e spiritoso, intense) performance of the Double Violin Concerto in A minor RV522, from the L'Estro Armonico ("The harmonious estrus") collection.
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V I V A L D I
Four Seasons A Year |
This disc is available at or can be ordered from, Tower (Pacific Plaza & Suntec City), HMV (The Heeren), Sing Discs (Raffles City) or Borders (Wheelock Place).
Battered by the sun and roasted by the heat, Chia Han-Leon is glad that the rains have returned. Hope they hang around for a while.
Back to the Classical Index!... or read more Baroque music reviews from the Inkvault Archives!
132: 17.2.98. up.31.5.1999 ©Chia Han-Leon
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