No, the world probably doesn’t need another Vivaldi Four Seasons. But, just maybe it wouldn’t hurt to add one more–like this one, for instance. Perhaps it’s similar to a relative that you like but don’t mind if you see only once every few years. However, when you’re in their presence, you remember how much fun you always have. Yes, there’s no question that this is a fun–and exciting and entertaining–70-plus minutes with some of Vivaldi’s most familiar and, in the case of the program’s last three concertos, never-before recorded works. I’ll even go so far as to say that this is the most impressive Four Seasons performance I’ve ever heard on a recording. Pick your spot–tune in wherever you like. Try the Summer concerto’s “Presto”: you’ve never heard its scurrying scales played with such dazzling fury and dizzying speed. Or listen to Winter’s opening Allegro: you’ll get chills even if it’s 90 degrees outside.
I know what you’re thinking. You don’t care if you ever hear these tired warhorses again. But if you’re like me and you’ve been wondering for the last couple of decades where are all the great Italian string players–where are the descendants of those who initially played (and composed) so much of the music that remains in the standard repertoire, the ones who invented the forms that all the rest of Europe emulated, look no further than violinist Giuliano Carmignola and his colleagues. They don’t just play this music; they possess it. They’ve actually found a way to make jaded listeners perk up and admit that the old truly can be made new.
I promised myself I’d never revisit all of my Four Seasons recordings in one evening again–but I just did (all 12 of them), and as with my all-time favorite Harnoncourt Beethoven symphonies, I’m satisfied that if I got rid of all the rest, this version would serve me well for the rest of my days. There are dozens of Four Seasons recordings in the catalog, from daring (Gil Shaham; Fabio Biondi; Anne-Sophie Mutter) to refined (Jeanne Lamon/Tafelmusik; Standage/English Concert) to “traditional” (Menuhin; Mullova; Zukerman; Peabody) to novelty (trombone; flute; guitars; harp)–but you really haven’t heard the heart and soul of this music until you hear this.
