Vivaldi, A.: Sacred Music, Vol. 2

VIVALDI: Violin Concertos Op. 4, Nos. 7-12

VIVALDI: Violin Concertos Op. 4, Nos. 1-6

Why transcribe Vivaldi's ubiquitous Four Seasons for solo piano when a gazillion recordings of the orchestral original can be had? That's a question pianist and transcriber Jeffrey Biegel eloquently addresses in the booklet notes he provides for his own performance. In essence, Biegel elaborates upon and embellishes the unaccredited solo-piano Four Seasons arrangement published by Ricordi with a keen sense of style and keyboard deployment. His vivacious, gorgeously detailed, thoroughly committed, and beautifully engineered piano playing constantly delights.

The wealth of tone color Biegel squeezes from the endless violin trills in high registers precludes any danger of the music turning percussive or tinkly, while rapid repeated notes and double notes effortlessly fall from his fingers (the G minor's Presto is quite a tour-de-force in this regard). Listen also to how adroitly Biegel weighs the dissonances in the F minor first movement's churning accompaniment.

Andrew Gentile's two concerto transcriptions are no less effective, mainly due to Biegel's ear for detail, such as the varied articulations and dynamic contrasts he brings to echoed passages (the C major mandolin concerto's finale, for example). What easily could have been a gimmick turns out to be no less than one of 2009's most enjoyable piano recordings. Don't judge it before you hear it!

--Jed Distler, ClassicsToday.com,

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I know, I know. It’s the forfeit one pays as a reviewer to receive another arrangement of the Four Seasons to listen to, and despair over. But wait—wrong! This is a fabulous exception, so don’t pass over this review until I’ve convinced you to buy a copy or to give it a go, at least.

This is the Ricordi arrangement, made anonymously, as augmented and arranged by pianist Jeffrey Biegel. You’ll wonder how the verdant chirpings, guttural barking and chilly, warming, and other topical seasonal states come over on a piano and I will tell you: very nicely indeed, believe it or not. If I came to scoff, I stayed to enjoy, and so will you, unless you’re made of sterner stuff. The recording quality, let me add, is first class.

The thing that impresses throughout is the variety of articulation that Biegel summons up. He is crisp, bright, even, sustains the writing through deft voicings (Spring’s Largo) and through clarity and variety of timbre. There’s real buoyancy to his finales. He generates amazing drive and animation in, say, the Presto finale of Summer. Nor does he stint the wit inherent in, say, the Allegro finale of Autumn which, I must say, I find defter and genuinely funnier than any orchestral performance. I’m not sure I should—but I do. The opening of Winter is powerfully compelling, and the trills and decorations in the slow movement are equally diverting; I wondered if its sparseness would defeat Biegel but it doesn’t; he flecks the writing with great felicity. And the Allegro finale of Winter sounds like an organ fantasia at its start; like a Bach-Siloti spectacular. Terrific stuff all round.

The two extra items are in the same mould, though these are original adaptations and arrangements by Andrew Gentile. Vital and exciting, with free embellishments in the Largo of the Mandolin Concerto, I equally defy you to find these unattractive. The delicacy and lyricism embedded in this transcription of the Lute Concerto’s slow movement is considerable. There’s textual depth here and no mistake.

So I began with a feeling of weary subjugation and ended elated. What more do you want from a disc?

-- Jonathan Woolf, MusicWeb International

VIVALDI: Famous Concertos

Menuhin; Lysy.

This is the first of a new series devoted to the sacred works of Vivaldi...the engineering is clean, fresh, and open, capturing the acoustic of Grace Church on the Hill, Toronto, to pleasing effect. Mallon’s chorus immediately makes a strong impression, with vital, strongly committed and projected singing that is obviously going to provide his cycle with one of its major strengths. Much the same might be said of the soloists he fields here...his wonderful alto Nathalie Stutzmann bringing to these solos richly dignified and authoritative singing...there are many fine moments in the Irish conductor’s performance, the choruses again distinguished by vibrant, incisive singing, and soprano Jane Archibald contributing an appealing “Domine Deus, agnus Dei.” Archibald is also impressively fearless in the high-flying tessitura of the motet Nulla in mundo, singing the beguilingly blissful opening aria, taken dangerously slowly, with winning freshness, finding real dramatic significance in the central recitative and negotiating the coloratura of the demanding final aria and Alleluia with a radiant, confident security. This is, then, an auspicious beginning. Anyone attracted by Naxos’s low prices to the idea of collecting the new series can certainly go ahead in the knowledge that they are likely to be in possession of a real bargain. - Brian Robins, FANFARE

I had the good fortune to hear the first concerto RV532, arranged from one for two mandolins, on Radio 3 and was very impressed. It was delightful therefore to receive this disc for review and to have my original very positive impression endorsed. The disc has an added distinction, as sadly it will be Julian Lloyd Webber’s last recording due to a neck injury.

The disc begins with RV532 and this sets the high standard for what is to come. If one had doubts as to arranging the distinctive sound of mandolins to cellos then these are dispelled immediately. The playing, throughout, is very accomplished and sensitive and very well captured by the engineers. The success of an arrangement is surely not to feel the instrumentation is incorrect and this is the case here. RV531 follows which is the only one originally written for two cellos and was at a lower level of inspiration than the first piece. Fortunately RV409, originally written for one cello follows and this is an exciting piece with changes of tempo in the middle movement. The finale showcases Lloyd Webber’s expertise on the instrument and signposts the way for Haydn’s concerto a generation later.

RV545 is a most appealing work with the first movement originally destined for the instrumentation in a cantata. The arrangement from oboe to bassoon is seamless and again showcases the fine playing of the soloists; those who listen to the countless versions of the Four Seasons should definitely give this a listen. RV539 was originally conceived for two horns. This is a delightful piece with the cellos' imitation of hunting calls in the outer movements. The lullaby nature of the middle movement is very touching articulated by restrained playing and sympathetic accompaniment. RV812 was only discovered less than ten years ago. This was originally written for violin and the arrangement for two cellos again works well even if the piece is not as distinguished as some of the others here.

The final item is an arrangement of a Milonga (tango dance) from Piazzolla's Concerto for Bandoneon — a type of concertina — and Guitar. To say that this is a contrast to what’s come before is an understatement. The plaintive melody is well suited to the cello and as throughout the playing is first class: a most effective and original way to end this disc.

This is undoubtedly a successful disc which will appeal to many, especially at Naxos price. Perhaps not to be taken in one sitting but a couple of the concertos at a time. It is sad if this is to be Julian Lloyd Webber’s last record but if it is, he is signing off in some style.

– David R. Dunsmore, MusicWeb International

VIVALDI: Concertos for Strings

VIVALDI: Flute Concertos, Vol. 1

The flute is probably the most serene instrument of all, aside from the harp. Its sound alone has a miraculously calming effect, evoking a mood of tranquility. This is assuming, of course, that the music being played is of a high and beauteous quality, something of which Antonio Vivaldi was certainly a master. The first concerto, "La tempesta di mare" (Sea storm), will be instantly recognizable by anyone who has seen recent diamond or wine commercials on television. The main theme's rapid upward scale is an engaging device the composer will use a few times throughout this collection. The Concerto in G minor, "La notte" (Night), creates an eerie atmosphere with its somber tones and very pregnant pauses, followed by a raging allegro. The D major concerto, "Il gardellino" (The Goldfinch) borrows the "The Four Seasons" technique of suggesting bird-song with two solo violins. Béla Drahos's playing in these and the remaining concertos captures the smile that is ever-present in Vivaldi's music with unerring skill and purity of tone. The Nicolaus Esterházy Sinfonia partners him with pungent, animated accompaniments. Naxos' warm recording enhances the effect of these engaging performances, which are simply as fine as any available.--Victor Carr, ClassicsToday.com

Includes cto(s) for bsn by Antonio Vivaldi. Ensemble: Nicolaus Esterházy Sinfonia. Conductor: Béla Drahos. Soloist: Tamás Benkócs.

Vivaldi: Bassoon Concertos (Complete), Vol. 1

VIVALDI: Cello Concertos, Vol. 4

Vivaldi: Cello Concerti, Vol. 3