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Vivaldi : Les Quatre Saisons - Geminiani : Concerti Grossi N°4, N°12 CD, Import
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Détails sur le produit
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Descriptions du produit
Le chef américain MARTIN PERLMAN (célèbre pour ses enregistrements avec son orchestre dont les musiciens jouent sur des instruments d'époque), à la tête de son fi dèle orchestre BOSTON BAROQUE, dirige l'incontournable QUATRE SAISONS de VIVALDI. Signalons le jeu splendide de l'étonnante jeune violoniste CHRISTINA DAY MARTINSON.
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Commentaires client les plus utiles sur Amazon.com (beta)
The notes by Pearlman are first rate and include the original program notes by Vivaldi (in Italian and English translation). For those who do not know what this means, the Four Seasons (the first four concerti of Vivaldi's Op. 8) is a very early example of programmatic music, in that it tells a story and the music represents the story. The only gripe is the incredibly small font used, so, unless you have great eyesight, get out your magnifying glass as I had to do. But don't pass up this recording. It is really a gem!
This performance by the Boston Baroque has been designed to be more in line with period practices than other recordings by competitive groups that have been released in recent years. It has received glowing reviews by many professional reviewers and was nominated for a Grammy award, so the critics have spoken, and they are stating very clearly that this is a standout work.
It was for all of those reasons that I decided to add it to my collection, even though I already have four or five other Four Season's CD's. I love this music, and was curious and decided to give this one a try.
I am not a classical music expert, simply a person who enjoys fine music. I continue to build my collection and my experience with all of the works that I have gathered together. With the Four Seasons, my preference is for what would probably be termed a "traditional" performance, and having listened to my favorite Four Seasons CD (Viktoria Mullova, Chamber Orchestra of Europe - see Vivaldi: Le Quattro Stagioni (The Four Seasons)) for so many times, it has become in my own mind the standard that I automatically reference when listening to any other performance.
There are differences in this performance, in what I would describe as timing, or pace, or emphasis, that just slightly differ from what I find most enjoyable. There are also sequences in this recording that are superb. The quality of play is very high, the sound quality of the recording is also excellent. It is not the Four Seasons I would select for my only example, if I had to choose one, but it would probably make the top two or three.
If you are looking for something different, or to add some variety in your Four Seasons, then this is well worth considering. As I've mentioned, the experts (and I don't claim to be one of them!) give this the highest possible reviews, and it is quite good.
(8/14/11: I have revised my rating from three to four stars, and updated my comments, based upon further listening to the recording).
The best surprise of this recording is the ornaments in the slow movements. The liner notes by Pearlman explains that in Vivaldi's time, slow tempos in concertos were used by the instrumentalists to display their virtuosity and make their instrument sing, just as if it was a voice. And that's exactly what Martinson does: she takes those familiar movements to another dimension, adding more romanticism to them (Winter's Largo is definitely my favorite). I've never heard such beautiful ornaments before, and I own about 20 versions of the 4 seasons! That's why I prefer that recording to the one by Tafelmusik.
The only downside (if there's any) is the continuo. Pearlman chooses to use only a harpsichord along with the cello. There's not really something wrong with that, most performers usually do it as well. But that's when Hogwood's version comes into play; you see, the British maestro uses a wider continuo (harpsichord and cello, but also organ and chitarrone) which gives a richer sound to the bass. As a keyboard player, I always give a lot of importance to the continuo section in the recordings, and I usually prefer something deeper. But all in all, this Pearlman's recording should be on your shelf as you'll never hear the slow movements played the same!