Before playing this recording of Vivaldi’s The Four
Seasons presented together with two oboe concertos, I have two issues
to address. Firstly, which classical music lover has not already got
a copy of the ubiquitous The Four Seasons and why should they want this
release as an additional version? Secondly, the soloist Andrew Manze
on baroque violin gives me potential concerns, which I will detail later
in this review.
There must be a hundred or so versions of The Four
Seasons available in the record catalogue and virtually all interpretative
tastes are catered for. Although there are no real historic recordings
to consider, as Vivaldi‘s music was not too popular before ‘Vivaldi
fever’ took over in the early seventies, there are three or four analogue
recordings on modern instruments which are still extremely acceptable.
Perhaps the pick of these is the now evergreen recording by the ASMF,
under Neville Marriner, with Alan Loveday as soloist on Decca Penguin
Classics.
Most of the premier violin virtuosos such as Anne Sophie
Mutter, Itzhak Perlman, Yehudi Menuhin and Nigel Kennedy et al
have made a recording or two of The Four Seasons. For many listeners,
including myself, it has been those performances made digitally on period
instruments which have taken centre stage. There is a highly rated version
by Tafelmusik under the direction and solo violin playing of Jeanne
Lamon, on Sony Digital. However, my first recommendation on period instruments
for its incredible rapid-fire energy and wonderful virtuoso pyrotechnics
is the colourful interpretation by Fabio Biondi as the baroque violin
soloist and director of Europe Galante, on Virgin Veritas. A convincing
premier alternative is the brilliantly imaginative version from baroque
violin soloist Giuliano Carmignola and the Venice Baroque Orchestra,
under the direction of Andrea Marcon, on Sony Classical, a recording
that just oozes class, controlled power and sophistication.
Andrew Manze, the soloist on this Warner Classics Elatus
recording, always seems to give me a few concerns even before I actually
play one of his new releases. I attended a concert that Andrew Manze
gave in Lancaster a few years ago. I found Manze’s playing on that occasion
very disappointing to say the least and that has always stuck with me.
Furthermore a snippet from a recording of Andrew Manze has been played
several times recently on the radio to illustrate a performer who gets
into technical difficulty when performing a tricky passage on a period
instrument. I do not allow these two examples to turn into a prejudice
against Manze, and in spite of my concerns I was extremely pleased with
his convincing playing on this release. He plays his baroque violin
with assurance and gives an elegant mid-tempo performance, which is
controlled, poised and a little understated.
The recording includes as fill-ups worthwhile performances
of two of Vivaldi’s oboe concertos with Marcel Panseele as soloist.
Ton Koopman’s indubitable direction of the proceedings, together with
his intelligent continuo playing, allows the Amsterdam Baroque Orchestra
the space for some fine playing and most compatible accompaniment to
the soloists.
Although superior period instrument versions of The
Four Seasons (as mentioned above) can be found elsewhere in the record
catalogues, few purchasers will be disappointed by this release. The
digital sound is fresh and reasonably crisp but the recording balance
could have been better presented and the sound at times seems rather
brittle.
Michael Cookson
Amsterdam Baroque Orchestra/Ton
Koopman