Star violinist Arabella Steinbacher presents Antonio Vivaldi’s world-famous Four Seasons alongside Astor Piazzolla’s Cuatro estaciones porteñas, creating a lively combination of baroque and tango. The enormous popularity of Vivaldi’s Four Seasons tends to make us forget the original and ground-breaking nature of these violin concertos. Coupling them with Piazzolla’s tango-inspired Four Seasons of Buenos Aires makes both pieces sound fresher than ever before, thanks to Steinbacher’s personal engagement with the repertoire and the inspired accompaniment of the Münchener Kammerorchester. Piazzolla’s music is performed here in a new arrangement for violin and string orchestra by Peter von Wienhardt, whose Strauss song arrangements on Steinbacher’s previous album Aber der Richtige ... (2018) were extensively praised by the press.

Arabella Steinbacher, a multiple award-winner with an extensive PENTATONE discography, is accompanied by the players of the Münchener Kammerorchester, who make their PENTATONE debut.

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REVIEW:

Both soloist and ensemble approach the contrasting styles – baroque energy and bluesy Latin passion – with supple mastery, bows biting into strings, rhythms accentuated, mood at times aggressive. Vivaldi’s Summer, with its rushing storms and prickly, insect-ridden heat, sounds more than usually wild, with Steinbacher fearless in the rapid, high-flying outbursts. What a player.

– Observer (UK)

Violinist Giuliano Carmignola and cellist Mario Brunello: one of the greatest interpreters of Vivaldi and Bach, whose recent recording of the Sonatas and Partitas was described by the authoritative magazine Gramophone as ‘a definite first choice among period instrument recordings of these works’; and his long-time friend Mario Brunello, acclaimed for his personal reinterpretation of that same famous collection on the violoncello piccolo (A469). Accompanied by the Milanese ensemble Accademia dell’Annunciata, they offer a highly original, experimental programme. Inspired by the three existing double concertos for violin and cello by Vivaldi – an unusual coupling in eighteenth century concerto literature – they revisit double concertos by Vivaldi and Bach (the famous BWV 1043 for two violins and BWV 1060 for violin and oboe), transposing the second solo part an octave lower on the violoncello piccolo. Underpinned by persuasive historical and musicological evidence, the approach first and foremost reveals their pleasure in working together on an innovative project. The outcome is a delightful opportunity to enjoy famous pieces in a totally different light.