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.
This is a colossal 18-disc set that focuses on the iconic group’s hit-packed albums, plus two sets that explore the individual careers of founding members Frankie Valli and Bob Gaudio. FRANKIE VALLI & THE FOUR SEASONS - THE CLASSIC ALBUMS BOX contains 18 CDs of the albums that Frankie Valli & The Four Seasons recorded between 1962-1992.
This EMI release of The Four Seasons gives violinist Sarah Chang top billing (as would be expected) and the Orpheus Chamber Orchestra a smaller, less significant listing. As far as the quality of performance goes, however, Orpheus should absolutely be considered the star of this recording with Chang getting the footnote instead. This is simply not the case; from the ridiculously posed glamour photos filling the liner notes to the balance of the performance itself, this album is all about Chang. The most fulfilling aspects are the orchestral tuttis. Orpheus is truly at its best here, playing with as much energy and passion as the much ballyhooed recording with the Venice Baroque Orchestra.
Part of Tacet's "Tube Only" recording series. No transistors were used within the recordig chain.
When Pico Iyer decided to go to Kyoto and live in a monastery, he did so to learn about Zen Buddhism from the inside, to get to know Kyoto, one of the loveliest old cities in the world, and to find out something about Japanese culture today–not the world of businessmen and production lines, but the traditional world of changing seasons and the silence of temples, of the images woven through literature, of the lunar Japan that still lives on behind the rising sun of geopolitical power.