We all have our favourites when it comes to Vivaldi’s Four
Seasons but, rather than thinking ‘oh no not another one’
I more often than not find I am rather relishing the excuse
to have another listen to these masterpieces, and maybe encounter
some new insights.
I can happily join in with Johns Whitmore’s very positive review
of David Juritz’s Four Seasons. I greatly enjoyed his
Bach (see review),
and anyone capable of busking their way around the world playing
the Sonatas and Partitas is deserving of attention when it comes
to Vivaldi. I don’t quite follow the licensing agreements which
have gone on with this recording in the past, but I’ve seen
both SACD and DVD versions of it from the Naxos label, neither
of which are currently in print as far as I know. Peter Quantrill’s
review
of the DVD audio version covers some different angles of the
performance and concludes with one or two reservations. (see
footnote)
What I like about this recording is the lightness of articulation,
range of dynamics and sense of drama in the music. The emphasis
is less on the seeking of utmost refinement, and more in the
sense of a ‘live’ and lively account which communicates on many
levels. This is nicely pointed out in the booklet, where for
each concerto there is a brief timeline with time-indicated
descriptions of where certain moments are being described in
music. I don’t remember encountering this anywhere before, and
so for the uninitiated this can be a very easy way of finding
out what the real descriptive intention and significance is
behind each über-familiar passage. Most of us will know about
the storm and barking dog in Spring, but if you’d never
been bothered to find out you might not have realised there
are some rather gruesome hunting scenes described in the finale
of Autumn.
Not all things to all people of course, but I’m still a big
fan of that character in Ottavio Dantone’s Arts recording of
The Four Seasons (see review).
I have to admit that on occasion Juritz gets as much intensity
into the music and at times equal drama. Dantone’s dramatic
approach is more flexible and operatic and uses a richer resource
of sonorities where Juritz is challenging us to believe the
notes can tell their story through thrust and conviction. I
know this is a chalk and cheese comparison, but Juritz does
achieve an ‘authentic’ feel from his players even though this
is a modern instrument recording. Violins haven’t changed so
very much since Vivaldi was being feted and reviled as the bad
boy of Venetian music, so I don’t feel too much of a lack of
legitimacy in picking out an ‘early music’ version by way of
comparison.
There is little mention of the filler concertos with the other
reviews but I rather like them. The orchestral violins are placed
antiphonally either side of the soloist, and this results in
a full sound and some striking imitative effects. The punchy
finale to the RV 582 is terrific, and the first movement
of RV 581 is like something by Handel, but with some
remarkable added harmonic wrinkles to relish.
All in all this is a highly recommendable release, and a Four
Seasons which may shake up a few preconceptions. The recording
is clear and deep, with a bright but believable balance between
soloist and orchestra.
Dominy Clements
Footnote from Nimbus
The licencing arrangements were that Naxos took it for SACD
and DVD only a few years back, they never had it for CD
because David was happy with the private CD released he had
already organised. After issuing his Bach Sonatas & Partitas
on Alliance last year he offered the Vivaldi to us ... simple
as that.
see also review
by John Whitmore
The London Mozart Players/David Juritz (violin/director)