![]() 8 (the title “Four Seasons” was not used), they were viewed as crazy modern music, or facile curiosities, or tasteless gimmickry, or the way of the future, and pretty much everything in between. Yet in 1725, when Spring, Summer, Fall, and Winter were published as the first four concertos of his Op. There are perhaps 200 different recordings that can be purchased at the moment (reissues, anthologies, and excerpts make an exact count difficult), and it accounts for about half the 174 appearances Vivaldi’s music has made in movies and television, according to Internet Movie Database. Its strains are part of the sounds of modern life, heard on the radio and in department stores and elevators. Recorded 25–28 June 2013, Kruiskerk Burgum, The Netherlands.Ĭontains detailed notes in English, German and Dutch on the music and matters of interpretation.This concert, and the concept behind it, came into being largely because Vivaldi’s Four Seasons has become profoundly embedded in modern culture. Bosgraaf’s version of Vivaldi’s Four Seasons (of course originally for violin and orchestra) is not a mere transcription for another instrument, but a recreation of a work of startling originality and power: listen to the furioso rendering of the Summer Storm!īosgraaf’s earlier recordings for Brilliant Classics have met withĮnthusiastic acclaim in the international press this new album will strengthen his reputation as one of today’s most fascinating out‐of‐thebox artists. ![]() His importance for the emancipation of the recorder (still often considered a stuffy and even childish instrument) is enormous. His concerts are happenings, and offer fascinating combinations of classical and experimental music. As the soloist himself puts it, ‘Listen to Vivaldi with fresh ears and enjoy!’Įrik Bosgraaf is considered one of the most innovative and versatile recorder players of his generation. Bosgraaf’s aim is to make the four legendary concertos sound as if they had been written for the recorder in the first place – and the results are laudable, with the contrasts between the wind instrument and the accompanying strings revealing previously unheard stratifications and details. In some ways it works even better than concertos Vivaldi wrote specifically for the recorder!’ Years ago Bosgraaf performed The Four Seasons with a symphony orchestra for the present album, however, he wanted to approach his ideal as closely as possible using Cordevento, a small baroque ensemble he founded himself, knowing all the musicians through and through. Such is the standpoint adopted on this recording by Erik Bosgraaf, who has chosen here to adapt the violin part for recorder, explaining how ‘the violin part can be played on the recorder with surprising ease, without many changes. ![]() Today nothing has changed: the concertos are performed both by great violin virtuosos and famous hard rockers they are works that are constantly being presented in new guises through the reimagining and re‐working of the musical score. – thatĬaused such as sensation in its time, effortlessly bridging the gap between the salons of the highborn and the alehouses of No doubt it was its imitative directness – extra musical occurrences/phenomena evoked in an extremely suggestive manner and even written into the score, such as ‘the barking dog’ or ‘the drunkards’ sleep’ etc. ![]() Vivaldi’s Four Seasons is one of the world’s most popular and widely recorded collections of music, a set that instantly became an international hit after it was first published at part of the composer’s Op.8 in 1725. ![]()
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