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Four Seasons
Vivaldi
·
Piazzolla
Arabella Steinbacher
Münchener Kammerorchester
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FOUR SEASONS
Astor Piazzolla (1921-1992) (arr. Peter von Wienhardt)
Las Cuatro Estaciones Porteñas (Four Seasons of Buenos Aires)
1
III. Primavera Porteña (Spring)
4. 51
Astor Piazzolla (arr. Peter von Wienhardt)
Las Cuatro Estaciones Porteñas (Four Seasons of Buenos Aires)
9
IV. Otoño Porteño (Autumn)
6. 45
Antonio Vivaldi
I Quattro Stagioni (The Four Seasons)
Concerto No. 3 in F Major, Op. 8, RV 293, “L’autonno (Autumn)”
Antonio Vivaldi (1678-1741)
I Quattro Stagioni (The Four Seasons)
Concerto No. 1 in E Major, Op. 8, RV 269, “La Primavera (Spring)”
2
3
4
I. Allegro
II. Largo e pianissimo sempre
III. Allegro pastorale
3. 23
2. 45
4. 12
10
11
12
I. Allegro
II. Adagio molto
III. Allegro
5. 16
2. 26
3. 28
Astor Piazzolla (arr. Peter von Wienhardt)
Las Cuatro Estaciones Porteñas (Four Seasons of Buenos Aires)
13
II. Invierno Porteño (Winter)
Antonio Vivaldi
I Quattro Stagioni (The Four Seasons)
Concerto No. 4 in F Minor, Op. 8, RV 297, “L’inverno (Winter)”
14
I. Allegro non molto
15
II. Largo
16
III. Allegro
Total playing time:
Arabella Steinbacher,
violin
Münchener Kammerorchester
Džeraldas Bidva,
concertmaster
7. 45
Astor Piazzolla (arr. Peter von Wienhardt)
Las Cuatro Estaciones Porteñas (Four Seasons of Buenos Aires)
5
I. Verano Porteño (Summer)
Antonio Vivaldi
I Quattro Stagioni (The Four Seasons)
Concerto No. 2 in G Minor, Op. 8, RV 315, “L’estate (Summer)”
6
I. Allegro non molto
7
II. Adagio e piano – Presto e forte
8
III. Presto
7. 40
5. 06
2. 26
2. 47
3. 39
2. 00
3. 40
64. 38
Vivaldi‘s
Four Seasons
is one of the most famous works in music
history; nearly everybody knows at least parts of it. And to be honest,
I was a bit hesitant to bring out another recording of it after all those
hundreds that already exist. But then I thought: well, still this is my
first recording of it!
Especially the combination with the completely different
Four Seasons
by Piazzolla was my great wish as I love the passion, longing and
melancholy in his music so much. My dear friend Peter von Wienhardt
did a beautiful arrangement of it and I am very happy to share this
emotional journey with you.
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Eight seasons, or when
the violin dances the tango
As an artist and interpreter, Arabella
Steinbacher does not choose an easy
or, at least, safe path. Rather, her
programmes are characterized by an
inquisitive delight in experimentation and
intelligent combination. For example, in
this recording the violinist has combined
Vivaldi’s world-famous
Four Seasons
with
an exciting counterpoint: Astor Piazzolla’s
Four Seasons of Buenos Aires,
with which
many people will not yet be familiar.
Antonio Vivaldi:
Le quattro stagioni
Op. 8, Nos. 1-4
In his oeuvre, the Venetian master Antonio
Vivaldi (1687-1741) turned his hand in
particular to the concerto genre, where
he made a significant impact — after
studying his own models Corelli, Albinoni
and Torelli — developing the three-
movement solo concerto with its typical
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ritornello form. His concerto movements
are based on the alternation of orchestral
ritornellos with solo sections, in which
(depending on the formal idea applied)
either the same thematic material is used
for both soli and tutti, or is differentiated
between soloists and orchestras.
Furthermore, this method can also be
alternated movement by movement
within a concerto.
The works that were published in Paris
in 1725 as his Op. 8, Nos. 1-4, entitled
Le
quattro stagioni
(The
Four Seasons),
are
an example of the concertos he wrote
based on a poetic subject. These comprise
the first four violin concertos of his Op.
8, to which he gave the peculiar subtitle
Il cimento dell’armonia e dell’inventione
(the contest between harmony and
invention). They were dedicated to the
Bohemian Count Morzin, to whom Vivaldi
gave the following, almost apologetic
recommendation in his preface to the
edition: “I beg your Highness not to be
surprised should you discover among
these feeble few concertos the four
seasons, which have for so long enjoyed
the indulgence of Your Highness’ noble
benevolence. However, may you believe
that I found them worthy of publishing,
as not only have they been expanded
with the sonnets, offering a very clear
explanation of the works, but also with all
those further matters that are expressed
therein. Thus I am sure that, although they
be the same concertos, they will appear
as novel to Your Highness.”
Thus, Vivaldi introduced each concerto
by means of an explanatory “Sonetto
dimostrativo,” a poem consisting of
fourteen lines written in sonnet form.
The individual text lines of these poems
reappear in the corresponding passages
in the score, most likely to aid the
interpretation. Some of the lines of the
poem are accentuated by means of large
letters situated alongside the poem.
These letters later return in the sections of
the concertos where the music converts
content into sound, providing a comment.
Although in his “seasons” Vivaldi supplied
extensive musical imitations of nature
(such as animal sounds, thunderstorms,
and downpours), hunting scenes, and
pastoral idylls, these works should not be
considered absolute programme music, as
the programme content always remains
subordinated to the solo-concerto form.
“Spring” opens with a radiant tutti
in the first movement, as it were in
the “theatrical manner of a herald”
(Kraemer). One can hear birds singing and
the rush of flowing water, before a tremolo
in the strings evokes a thunderstorm, with
the solo violin literally hurling out broken
triplets of “lightning triads”. The following
largo combines three different storylines:
the rustling of the foliage (violin ripieno),
the singing of the shepherd (solo violin)
and the barking of his dog (viola). The
final movement, a “danza pastorale”,
expresses the joy of spring bursting out all
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