"The four Seasons" is the multisection symphonic form in which takes part the outstanding violonist Jakub Jakowicz. It is direct to the followers of music contemplation, it is the reminescencion of classic forms of romantic music and contemporary music. This genres which are only apparent far away from each other find the common denominator, balancing between a dissonance and sweet, "hollywood" sound of violin. This is unique proposition, the experiment whose genre is hard to define.
Violinist James Ehnes has firmly established himself as a master of the modern repertoire and to a lesser extent, the Romantic, so his album of Antonio Vivaldi's perennial violin concertos, The Four Seasons, Giuseppe Tartini's "Devil's Trill" Sonata, and Jean-Marie Leclair's "Tambourin" Sonata is an unexpected detour into the Baroque. The fame and popularity of these pieces guarantees Ehnes an audience, and he, like everyone else, shouldn't be criticized for recording them, though his choice of the modern Sydney Symphony Orchestra for the Vivaldi, and Fritz Kreisler's arrangement of the Tartini for violin and piano, suggests that he isn't really trying to compete with most contemporary recordings, least of all the various period-style releases.
If anyone has earned the right to mess around with Vivaldi’s Four Seasons it is Nigel Kennedy, the violin world’s Marmite violinist. Remember how fresh he made this music sound on his recording of a quarter-century ago? This latest version offers a ferment of all he’s played since – concertos, jazz, Jimi Hendrix. It’s affectionate and irreverent in equal measure, and Kennedy and his Orchestra of Life never sound less than riveting. Pretty much all Vivaldi’s notes are there; around, above and in between them come interjections, overlays and linking passages involving guest musicians from jazz and rock: Orphy Robinson, Damon Reece, Z-Star and others. Spring is welcomed in by a distant-sounding intro on an electric-guitar. Summer’s storms bring forth bursts of crazily sampled static. Autumn tears off at a cracking pace, but with a jazz trumpet sauntering lazily over the top. It all sounds like a colossal jam session from the inside of a Botticelli painting.
Part of Tacet's "Tube Only" recording series. No transistors were used within the recordig chain.
If listeners had to commit to a single version of Vivaldi's Four Seasons for the rest of their lives, this 1984 BIS recording would be thoroughly satisfying choice. Superbly played, brilliantly recorded period instrument performances of this perennial masterpiece are all but a dime a dozen, and the differences between Hogwood's and Pinnock's and Harnoncourt's readings don't begin to make up for the fatal boredom of their performances. This version with Nils-Erik Sparf and the Drottningholm Court Baroque Ensemble would be an ideal choice because theirs is the freshest performance of the piece. Beyond their excellent technique and impeccable sense of style, Sparf and the Swedish musicians bring joy and enthusiasm to the music, and sound like they are in turn receiving happiness and energy from the music. There's real pleasure here, and real affection, as if the concertos were newly composed and these were their world premieres. Filled out with witty accounts of Vivaldi's F major Concerto for Bassoon and his G minor Concerto for Flute and Bassoon, this disc is a delight.
Antonio Vivaldi’s the Four Seasons is the most popular piece of classical music of all time. There have been over 1000 different recordings , selling tens of millions of copies. It’s become so ubiquitous – in lifts, as phone ring tones or on call-centre answering machines – that it has been denounced as Muzak for the middle classes.