Customer Reviews

Vivaldi and Piazzolla: Eight Seasons

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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.

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.

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.

Gidon Kremer's musical explorations were very famous from the beginning and during the last few years he is gaining almost a "classical superstar" status. I was a little suspicious about those beautifully packaged CDs with sort of "trendy" and almost too interesting sounding titles for serious classical achievements. BUT!! I couldn't be more wrong. "After Mozart" or "Eight Seasons" seem to be some of the most inspiring recordings I've heard. While listening to "Eight Seasons" at "concert" levels in a privacy of my room, I felt "goose bumps" for several times and I had to laugh out of pleasure, thinking: this is SOOO good. Gidon Kremer and his "baltic fresh" Kremerata Baltica are pursuing and tacking the pure essence of music. Programming the mix of Piazzola and Vivaldi doesn't seem extraordinary anymore. It is pure music, pure joy. Technical bravura and excellent sound are only side things. Tango nuevo - widely popularized music form and one of the most (ab)used baroque masterpieces join as one in a fresh and artistically meaningful entity. What more can we wish for ?
Piazzola sounds energetic and powerful and Vivaldi the freshest out of numerous interpretetions. Mixed in an interesting sequence they form a new "Opus".

I also strongly recommend "After Mozart" with its mixture of contemporary music and timeless, for many "godlike" Mozart. A recording that makes him human and even more divine at the same time.

Among the most frequently recorded compositions stands Vivaldi's "The Four Seasons." So frequent are these recordings that to justify new recordings gimmicks now have to be added such as the CD I have with Patrick Stewart intoning the short poems that inspired Vivaldi to compose his wonderful opus. So when Nonesuch announced a new release titled <Eight Seaons> (79568-2) which combined the four of Vivaldi to the four of the Argentinean composer Piazzolla, I was a little concerned that another gimmick was in the offing. I was both right and wrong. You see, the gimmick works!

The four 20th century contributions to this program are "Summer in Buenos Aires," "Autumn...," "Winter...," and "Spring...", alternating with the Vivaldi so that the program opens with the Baroque Spring and closes with the South American one. The other part of the gimmick is that the Piazzolla sections, already composed for other works, were reorchestrated to match the Vivaldi sections. (Is that clear?)

Now I played this CD in two ways. First as it is. Then I programmed in only the Piazzolla sections. It works beautifully both ways! There are other recordings that give us "The Four Seasons" with a bit more finesse than does violinist Gidon Kremer and his Kremerata Baltica. But his style of conducting does no great disservice to the Vivaldi and works well with the Piazzolla sections.

Parts of this recording are so beautiful that when I listen while working, I have to pause what I am doing and close my eyes. I don't remember how I ended up buying this CD (it certainly wasn't planned), but I am so grateful.

My rabbit hates it though. When I listen to it at home, he stamps his feet. So I can only listen to it at work. :(

I have attended Kremata Baltica's concert in Hong Kong performing exactly the same programme. I was already impressed by the performance of the enesemble for Baltica young musicians and under the direction of Gidon Kremer that night. Now the CD is still impressive. It is not easy to get impressed by contemporary music for me as an ordinary classical music lover, but Piazzolla's music is not pretending to be profound and difficult. It's new music technique does not prevent his expression and comminucation of emotions via his music to the audiences. The combination of Vivaldi's The Four Seasons & Piazzolla's The Four Seasons in Buenos Aires is a fantastic mix as well.

Gidon Kremer has been building himself quite the reputation as an interpreter of the music of the late and great Argentine musical polymath, Astor Piazzolla. Here he takes the very well-known Four Seasons of Vivaldi and stands them up to the Four Seasons of Piazzolla and the result is an aural delight.
Most who are reading this are probably curious about this CD for one of two reasons: either they are Vivaldi fans, or they are Piazzolla fans. But who says that being a fan of one has to exclude the other? After you listen to this, you are likely to become a fan of the music of both composers and of Gidon Kremer as well if you were not already.
Being a huge Piazzolla fan,I never tire of hearing different interpretations of one of his most important works. The Four Seasons of Buenos Aires may be born of tango, but it is much more than that. It is a masterful marriage of classical elements with those of tango. Piazzolla could do many things with music and what he has created with his Four Seasons is an electrifying blend that will stand the test of time.
And so here is Gidon Kremer with yet another skillful and faithful interpretation of the both the spirit and the letter of Astor Piazzolla's music, cleverly juxtaposed with that of one of the Old Masters. Kremer brings us full circle with his presentation of the Four Seasons sequences of both composers, beginning with Vivaldi's La Primavera (Spring) and after a musical journey through the year, ending with Primavera Portena (Buenos Aires Spring) so that we finish where we began.
Kremer and his Kremerata Baltica do a virtuoso job throughout. Though I am a partisan of the music of Piazzolla, I enjoy Kremer's interpretation of Vivaldi as well. If you know and love this music as I do, then Eight Seasons merits an esteemed slot in your CD collection.

I had never heard the Piazzolla 'seasons' before and when I listened to it in a music store, I simply had to buy it! Kremer is the best violinist on this planet in my opinion. I am not very much impressed by the Vivaldi 'four seasons' on this CD, but even when you buy the CD only because of the Piazzolla-pieces, you will not regret it! Kremer is very capable of catching the South American 'feeling', the 'drama'and the ryhtm in the music. I almost feel like dancing, when listening to it!

I live in Kobe, Japan. I went a concert of Kremerata Baltica last year. Fortunately I encountered this program, "Eight Seasons". Everybody who was there at that night is a witness of miracle. So nice play, very few left concert hall. This CD is also very impressive, I found. Kremer is also good for very classical classic. Buy one copy.