Search - Antonio Vivaldi, Astor Piazzolla, Kremerata Baltica :: Vivaldi and Piazzolla: Eight Seasons

8 Seasons--250 Years

Dr. Christopher Coleman | HONG KONG | 10/16/2000

(5 out of 5 stars)

"The concept of this CD is decidedly postmodern; Antonio Vivaldi's Four Seasons concerti written around 1725 are presented in alternation with Argentinian composer Astor Piazzolla's Four Seasons of Buenos Aires, written almost 250 years later. In his notes for the CD, Kremer asks us not to think too much about irrelevancies such as categories of Classical or Pop, Modern or Baroque, but simply to embrace the sounds as a language of emotion. Let us, then, begin embracing: listen to the pieces in your own order--try the Piazzolla Spring in Buenos Aires, followed by the beginning of Vivaldi's Spring.In spite of Kremer's request, categorization and questioning are as natural for man as breathing; and music is not solely a sensory experience but also an intellectual one. We live in an age where Baroque and modern co-exist but the true post-modernist does not just accept these eclectic juxtapositions. Instead, he considers their real worth to be in the newly-found relationships these juxtapositions reveal. So we must ask, do the Vivaldi concerti gain from their juxtaposition with the Piazzolla? Do the Piazzolla gain from the Vivaldi? Certainly the references to the Vivaldi in the Piazzolla become immediately obvious. But beyond this, we become sensitised to the extent of Kremer's interpretation of the Vivaldi--he is perhaps a bit disingenuous when he asks us to simply accept, when so much thought has clearly gone into these performances. Better that we become aware of how crisply the Vivaldi is played, how percussive it is, how colorful and vigorous, and how expressive the tempo changes are--these interpretive details are not indicated in the score at all, but are clearly influenced by Kremer's work with contemporary music in general and Piazzolla in particular. Listen to the fascinating control of tone quality in Vivaldi's Winter, for example, and note the vigor of the rhythmic drive.These performances are definitely not for the purist, but I imagine that Vivaldi would have been extremely pleased with these interpretations, as he was a virtuoso violinist himself, well known for his innovative playing techinques.I've said relatively little about the Piazzolla pieces. They were written as four distinct works in the years 1964-1970 and not originally intended to be performed as a suite, although later Piazzolla did indeed put them together occassionally and perform them with his quintet. They are originally scored for violin, electric guitar, piano, bass, and bandoneon--an instrument much like an accordion. In the arrangements presented here, by Leonid Desyatnikov, they undergo a transformation even more radical than that of the Vivaldi, and so Kremer's presence in this project becomes almost like that of a third composer--this is not, as Kremer says in his notes "a dialogue of two geniuses", but rather a translation done by a third genius of their work in terms of one another."

A beautiful study in contrast and similarity

Tina Morris | Rockville, MD USA | 01/31/2001

(5 out of 5 stars)

"At first sight you couldn't pick a more contrasting selection: 20th centure south american versus 18th century Italian baroque music! How does that go together? Antonio Vivaldi's "Four seasons" are certainly among the best-loved classical pieces of all time. The represent the cycle of life in a changing mix of moods that represent the seasons of the year. When passionately played, they are a study in contrast and harmony themselves. Argentinian composer Astor Piazzola, best known for his tango music, towards the twilight of his life and career wrote 4 seasonal pieces as well, but in contrast to the Vivalid set they were not originally meant to be performed together. While of course very different from the baroque counterparts, one is surprised how superbly the different moods are reflected and are actually very complementary between the pieces. The most important element that makes this CD a superb experience is the genius of Kremer's play. He ties it all together and his ensemble, the Kremerata Baltica, does a wonderful job as well. This is a very extraordinary musical experience! Kremer has to be highly commended for bringing lesser known, yet wonderful 20th century pieces together with an old favorite to create an entirely new experience."

At Last, Piazzola !

Roberto | Barcelona | 04/26/2000

(5 out of 5 stars)

"Well, well, well. As a fan of Astor Piazzola's work, and especially his cuatro estaciones porteñas, I was pleased and surprised to find this recording by the great Gidon Kremer.What can I say? Kremer&Co. treat us to a feast of emotions through their excellent interpretations of both Vivaldi & Piazzola. Just as Vivaldi's music is clean and sublime, Piazzola's "estaciones" are streetwise heartwrenching tango, and Kremer manages to artfully contrast and put side by side these masterful works. Some people may gripe about the "unorthodox" or "less than classical" interpretation of Vivaldi, but no-one can criticize the musicality and excellence of Kremer and his Kremerata's technique. The sound they achieve is incredible! Just listen to the "Primavera Porteña", for example. They manage difficult tango contratempos with the same ease that they tackle Vivaldi's winter.For an astounding rythmic, sensual, but most of all MUSICAL experience, I strongly recommend this CD."