Antonio VIVALDI (1668-1741)
Six concertos from Il Cimento dell’Armonia e dell’Invenzione Op. 8:
The Four Seasons: Spring, Summer, Autumn, Winter (RV 269, 315, 293, 297)
Storm at Sea RV 253
Pleasure RV 180
Massimo Quarta (violin)
Yuko Tanaka (harpsichord continuo)
Moscow Chamber Orchestra/Constantine Orbelian
Rec. 13-16 Sept 2000, Skywalker Sound, Marin County, California
DELOS DE 3280 [56.32]
In the vast canon of Baroque music, Antonio Vivaldi’s Il Cimento dell’Armonia e dell’Invenzione remains a cornerstone, particularly its widely celebrated Four Seasons. This latest recording by Massimo Quarta and the Moscow Chamber Orchestra under Constantine Orbelian provides a vibrant yet hyper-romantic interpretation that, while undoubtedly captivating, raises pertinent questions regarding stylistic authenticity and interpretive choices.
Vivaldi, a composer whose works exude the spirit of the Venetian Baroque, dedicated this collection to Count Venceslas von Morzin, a patron who recognized the genius of the “Red Priest.” The concertos, first published in 1725, not only exemplify Vivaldi’s innovative use of the violin but also showcase his ability to conjure vivid imagery through music—a hallmark of the Baroque idiom. Quarta’s interpretation leans into this legacy with a lush, sonorous tone that, while compelling, often veers towards a romanticized interpretation reminiscent of Tchaikovsky’s Violin Concerto rather than remaining firmly rooted in Vivaldi’s own stylistic milieu.
The recording’s engineering merits attention; Delos has provided a soundscape that is both immersive and immediate. The close mic’ing brings forth the nuances of Quarta’s playing and Tanaka’s harpsichord continuo, which, crafted after Ioannes Ruckers, provides a shimmering yet grounded harmonic foundation. The auditory experience is akin to being enveloped in Technicolor, showcasing not only the brilliance of the performers but also the intricate interplay of the ensemble. However, one might argue that such vividness risks overshadowing the subtleties intrinsic to Vivaldi’s writing.
Quarta’s approach to the slow movements, particularly in Winter and Summer, showcases a languorous rubato that, while effective in drawing emotional depth, sometimes threatens to dilute the rhythmic vitality that is so crucial to Vivaldi’s idiom. For instance, in the slow section of Winter (RV 297), while the expressive bowing and nuanced dynamic shading create an evocative atmosphere, one could contend that a more restrained interpretation might better serve the inherent tension of the music. The faster movements, such as the explosive Allegro of Spring (RV 269), are executed with exhilarating energy, though again, the interpretive choices lean towards hyperbole, reflecting a modern sensibility that may alienate purists who favor historically informed performance.
In comparison to notable recordings—such as those featuring the likes of Anne-Sophie Mutter or Itzhak Perlman—Quarta’s interpretation stands out for its unabashed flamboyance. While Mutter’s and Perlman’s interpretations often balance virtuosity with an adherence to Baroque stylistic conventions, Quarta’s performance is characterized by a broader emotional palette that may appeal to contemporary audiences but risks sacrificing fidelity to Vivaldi’s original intentions.
The overall performance is undoubtedly engaging, and yet one is left pondering the implications of such interpretive choices. The interpretative liberties taken by Quarta invite a dialogue regarding the balance between artistic expression and historical authenticity. This recording, while a feast for the senses, may not serve as the definitive version of Vivaldi’s masterpieces for those who seek a more traditional rendering.
In conclusion, this recording of Vivaldi’s Four Seasons and associated concertos by Quarta, Tanaka, and the Moscow Chamber Orchestra is a vibrant and colorful interpretation that, while successful in its own right, raises questions about stylistic fidelity and the role of historical context in performance practice. The lush sound quality and dynamic execution are commendable, yet they may prompt listeners to seek out alternative renditions for a more nuanced understanding of Vivaldi’s rich musical language. Ultimately, this release is best approached as a contemporary interpretation that offers fresh insights into a familiar repertoire rather than as a definitive account of Vivaldi’s enduring masterpieces.
