Customer Reviews

Vivaldi: The Four Seasons

5 star:		(16)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This standout composition by Vivaldi need not continually overshadow so much else by this great composer. Vivaldi not only in the Four Seasons as heard on this CD but throughout his career creates a whole world of breath taking innovative changes in the music of his time. Much of his achievement can be discovered through Michael Talbot's authoritative writings on the Italian Baroque in music. Talbot's book on Vivaldi is a must purchase for anyone wishing to go beyond this one work. the Four Seasons, and discover many more fabulous treasures. Talbot's book also is very well-written, a nice plus when reading about the past and a subject - classical music - that can easily turn pedantic.Vivaldi (Master Musicians Series) Fans of the Four Seasons should make every effort to try some of Vivaldi's other works, music which captivated an entire generation of composers, including Johann Sebastian Bach. Do not hesitate to hear La Stravanga, Opus 4, under the leadership of another wonderful violinist, Rachel Podger, playing and leading original instruments, Stravaganza: Violin Concerti Op 4 1-12 For a walk on the wild side try the sensational playing of the L'estro armonica Opus 3, with Fabio Biondi - very controversial - Vivaldi : L'estro armonico / Fabio Biondi, Europa Galante

In this brand new recording of the Four Seasons with Chang and the Orpheus, EMI almost certainly has a winner. I hate to promote a CD which will certainly receive the full media treatment, but this is more than just another up and coming violinist making the umpteenth recorded run through of the Four Seasons to placate marketing. Ms Chang, who has at times sounded a tad less emotional than I prefer in the Romantic repetoire, certainly shows off a strong affinity for this music's multiplicity of emotions. The Four Seasons may be deadly familiar, but that by no means makes it easy! Sarah Chang's just slightly too forwardly recorded violin playing needs make no apologies to anyone. Only a very few violinists play this work this well. It's a real joy listening to her negotiate all the trickiest passages and rarely scuffing or losing her tone. Many listeners in Vivaldi's time routinely felt the Italian violin masters, such as Vivaldi himself, played and composed music that was too extroverted and dramatic, sacrificing beauty of tone. Too often even fine modern players run rather roughshod in this work. Yet there are exceptions such as Ms Chang who allow us to enjoy our cake and eat it too! There are only a few passages in the music where her pitch isn't quite dead on, and believe me, no one else can run this obstacle course cleanly either! You have to know the music and violin playing to appreciate just how difficult it is to play this music. Her group the Oprheus as a whole is also quite good, though perhaps not quite in the same class as one or two of the very finest groups who have previously recorded this music. (See the older but still mightly impressive I Musici version Vivaldi: Le Quattro Stagioni (The Four Seasons) Despite that one niggling reservation I wholeheartedly agree with everone else here at Amazon. The recording does a fine job capturing the nuances of Chang's playing and she's so good as to leave me wondering how I can mark this CD down. And I can't.

Though not my first choice in this music - I still lean to I Musici overall for urbanity and polish, while turning to the first verison with Fabio Biondi for lights out excitement - Vivaldi: The Four Seasons; Fabio Biondi & Europa Galante- this is still an extraordinarily well-played and lively rendition and one that should please the most demanding of critics as well, I might add, as all the rest of us!

I have heard many Vivaldi Four Seasons renditions, but this is one my favorite. I was fortunate to see Sarah play live about one year ago and I was absolutely in heaven. Her playing is fluid, delicate, and very musical. On this CD, the playing is exquisite and musical. I own several of her CDs and all of them are just so enjoyable to listen to. Besides her talented rendition and musical signature, the recording VERY well-balanced and naturally realistic (as is the case on all of her CDs). She has the goods as a musician coupled with great recording engineering!

Having seen last Saturday a resounding performance of this work by Sarah Chang and Orpheus at Carnegie Hall's Stern Auditorium, I knew already that this would be a fine recording. It is quite simply, one of the very best performances of Vivaldi's "Four Seasons" that I have heard either live or in recordings. Chang and Orpheus play these venerable concerti as though they were all members of the same ensemble. While Chang has ample opportunities to show her ebullient personality in her solos, she doesn't try to steer the performance in her direction, performing as if she was a long-time member of Orpheus. Her technically proficient playing is quite fluid, but still one replete with ample emotional richness. Of the recent recordings of the "Four Seasons" that I am aware of, Chang's comes closest to Mutter's with respect to audio sound quality and musicianship.

I used to love Vivaldi. His "Four Seasons" always elicited a warm response from me. Then, over a period of many years, I was a victim of over-Vivaldization. Vivaldi was everywhere, from the elevator music, to the music in the Italian restaurants, where his music was garlic-infused. I would not complain except that the performances were of a type "just keep it even, do not get anybody musically excited, the purpose is for Vivaldi to be in the background, so that we can ride the elevator or digest our food peacefully". The bland sound of the violins, no dynamics, semi-romantic cheep effects, and the music at its worst did it for me. No more Vivaldi for me! I think that the final decision was made when I was eating somewhere in Europe a horrible watery pizza with different toppings in each of its quadrants, named "Le Quatro Staggione" ("Four Seasons" in Italian) while my ears were abused by just about the worst performance of Vivaldi in history.
Well, this was then. I was intrigued by Sarah Chang's recording of Vivaldi, with the Orpheus Chamber Orchestra. I got her record with the single objective: can she reconnect me with Vivaldi, can she erase bad memories of Vivaldi in the elevators and restaurants? Can she make me fall in love with Vivaldi again?
The answer is YES! Sarah Chang is a true talent, a great performer, her Vivaldi flows, full of intricate details; her sound is lush, warm, full, resonating, and definitely captivating. She is phenomenal! Her performance is memorable. She is genuine in her interpretation of Vivaldi. I particularly liked the little effects that we, amateur violinists, desperately try to produce: the smooth, yet not too smooth double stops, and the little biting sound when multiple strings are engaged by a big bow stroke. While we try to imitate (and it shows), Sara Chang not only knows these bowing delights, but she re-invents them! These "little" details make a great master performer!
The booklet which comes with the CD has the sonnets that go with each movement of these concerti, which Sarah Chang comments on as being integral to her interpretation of the music.
I am delighted with this recording, and I am sure you will be too.
Five starts, well deserved!

I didn't think I would care much for this for two reasons: 1). I usually prefer music from this time played on period instruments and 2). Everytime I have heard the "conductorless" Orpheus Chamber Orchestra, I have come away thinking that they sound conductorless. What got me to buy it was a favorable review in Fanfare by a reviewer for whom I have great respect. Well, he was right. This recording will not replace the two I love dearly (English Concert and Monica Huggett with the Raglan Players), both of which are on "original instruments," but Sarah Chang plays with such joy and verve that it is simply not possible not to love this recording.

I saw her in person playing the Bruch G minor concerto and she was absolutely wonderful and I thought then that I should really have some of her recordings. And also to my surprise, the Orpheus Chamber Orchestra makes a most sympathetic partner in this endeavor. I had great doubts about this Four Seasons and how pleased I am to be wrong.

Sarah Chang gives the warhorse concertos from Vivaldi a vivid twist and imagination, while still maintaining the fine lines of historical character and "baroque" interpretation.

It is easy to come into a project such as the Four Seasons (which have been an audience favorite for centuries!) and give it an ordinary and "cliche" interpretation, but Sarah finds a way to mark her own stamp on these works simultaneously respecting the times of Vivaldi and the works' historical context.

This is a wonderful recording that not only focuses Chang as a soloist, but the Orpheus Chamber Orchestra as well. They mesh really well together, and give credit where it's due! To the producers at EMI who have produced a CD with fantastic acoustics, this is truly a gem!!!

Once again, this album demonstrates Sarah's ever-evolving musicianship! Any critic that believes Sarah has been suffering from the "prodigy" syndrome will say that no more once they listen to this recording.

This is not only a vibrant and fresh interpretation of Vivaldi, but it is a well thought-out and intellectual adventure. Brava Sarah!

........a "Four Seasons" were the soloist and the orchestra aren't in competition! Sarah Chang and the Orpheus Chamber Orchestra have given us an absolutely fabulous recording. Now, the number of records of this old masterpiece is legion, and most are marginal. [A music master once told me that Antonio Vivaldi wrote the same tune 600 times; this is STILL a masterpiece]. Here is a performance in whice one can hear both Sarah and her back-up with equal clarity. I suppose that spring and fall are my favorites, but that is true for most listeners...the opening notes of spring are certainly the most familiar.

Sarah is a joy, and a treasure, who just keeps getting better; that she is the most beautiful violinist ever is simply a nice bonus [I have said the same of Leila Josefowicz; my hero Tom Jefferson often had differing opinions on one subject, too]. Regardless, Leila hasn't recorded this, and Sarah has. This is an absolutely joyous recording; great violinist, great orchestra....you'll love it....Promise.

I don't have a lot to say except that this cd is awesome and that she plays her behind off! Definitely get this cd. I'm going to get everything I can with her in it.

Let me start by saying that I am far from being an expert in classical music.
I remember seeing Sarah Chang on TV in France when she was 12. She played live and her performance (Pablo de Sarrasate) was so amazing that I remember giving her a standing ovation in the comfort of my appartment. Sounds stupid but I was that impressed!

Fast forward to many years later... I have long forgotten about Sarah and her violin when a friend makes me listen to a recording of Vivaldi the 4 seasons played by the Scala of Milan. Impressive, nice and so emotional it made me cry (music can definitely do that to me, not people)...
I decided to try finding the recording online and I came across Sarah playing it... So I bought it. Result, I do love it! I think she is at least as good as when she was 12 :) and her rendition of the 4 seasons sounds very good to my inexperienced ears.
Some more informed people may find her too commercial or find other reasons not to like her.
As far as I am concerned, comparing it to the rendition of the Scala, I think she plays her part brilliantly but the overall cohesion is lesser than the Scala. It is apparently natural if you do consider her as a lead violin compared to the Scala where both 1st and 2nd violins are quite equal.
So for violin solos I give her the advantage; as for the rest, the scala may have the upper hand.

In any case, I definitely do not regret this acquisition.

I'm admittedly no expert on claassical music of any sort, but Ms Chang seems to really make Vivaldi come alive in this fantastic rendering. As I listened to the music, I couldn't help but reflect on the outstanding technical detail--that so much of what we consider as "background music," just something to be crassly bought and consumed at the record store or over the internet, was at one point actually LISTENED TO and appreciated. It's really too bad--but maybe it's not too late. I definitely not only highly recommend this CD but also cultivating a habit of slowing down and appreciating every last note in a work like this. Well done!!