Composer: Antonio Vivaldi (1678-1741)
Works: The Four Seasons: No. 1 in E, RV268, ‘Spring’; No. 2 in G minor, RV315, ‘Summer’; No. 3 in F, RV293, ‘Autumn’; No. 4 in F minor, RV297, ‘Winter’; Violin Concerto in E, RV271, ‘L’amoroso’
Performers: I Musici/Felix Ayo (violin)
Recorded: May 1959 (The Four Seasons), January 1958 (L’amoroso)
Label: Philips 50 Great Recordings 464 750-2 [ADD] [57’28]
The eternal allure of Vivaldi’s The Four Seasons remains a cornerstone of the Baroque repertoire, eliciting an array of interpretations that reflect the evolving aesthetic sensibilities of performers and audiences alike. In this latest reissue featuring Felix Ayo and the distinguished ensemble I Musici, one is confronted with a performance that, while historically significant and sentimentally resonant, ultimately falls short of the interpretative vitality that has become the hallmark of contemporary interpretations.
Ayo’s approach is characterized by a deliberate pacing that often lacks the requisite vigor. The first movement of Spring, marked Allegro, sets a rather subdued tone, as if the exuberance of the season is tempered by an unseen hand. The musical lines, though elegantly shaped, fail to erupt with the joyous energy that one expects. In stark contrast, the recordings of Anne-Sophie Mutter or Joshua Bell showcase a buoyancy that feels inherently tied to Vivaldi’s evocative imagery of blooming nature, as vividly depicted in the accompanying sonnets.
The second movement of Spring, which includes the famous ‘Largo’, reveals Ayo’s ability to create a floating, lyrical quality over a somewhat cumbersome accompaniment. However, the orchestral textures here seem uncomfortably weighted, leading one to ponder whether this interpretation is a nostalgic nod to a bygone era of performance practice, or simply an oversight of the dynamic possibilities inherent in Vivaldi’s writing. This heaviness becomes even more pronounced in the finale, where Ayo’s approach evokes memories of Herbert von Karajan’s overly lush interpretations of Baroque music, which often obscure the work’s brilliance.
Moving to Summer, Ayo and I Musici offer a reading that attempts to capture the oppressive heat of the season, yet it too often lags in momentum, particularly in the opening movement. Here, one yearns for the fiery intensity that artists like Viktoria Mullova or the period-influenced ensemble Il Giardino Armonico bring to the fore, exuding a visceral connection to the dramatic storms described in the score.
In Autumn, Ayo exhibits some spirited exchanges in the Adagio molto, suggesting a glimmer of hope for a more engaging interpretation. However, the subsequent finale, marked Allegro, is executed at an unsatisfactorily languorous pace that fails to evoke the celebratory harvest imagery. Vivaldi’s music thrives on contrast and energy, and here it is compromised by a three-quarter speed that feels more like a leisurely stroll than a robust dance.
Winter, often regarded as the most introspective of the seasons, does fare somewhat better under Ayo’s hands. The Largo offers a lyrical phrasing that avoids excessive embellishment, allowing the somber nature of the music to resonate. Yet, even this movement suffers from a lack of clarity in the pizzicato accompaniment, which, while resonant, overshadows the delicate violin line.
The disc also features the Violin Concerto in E, RV271, L’amoroso, which, alas, suffers from the same interpretative malaise. The cantabile direction for the slow movement is interpreted with an unwarranted Romantic sentimentality that veers away from the Baroque sensibility of restraint and precision. This contrasts sharply with the interpretations by performers such as Giuliano Carmignola, whose incisive bow strokes and clear articulation breathe life into the concerto’s emotional depth.
In assessing the recording quality, one must commend the engineering that captures the warmth of the ensemble sound. Yet, the balance often tilts unfavorably towards the orchestra, diminishing the impact of Ayo’s solo line, which is crucial in a work so reliant on the interplay of dialogue between the violin and the ensemble.
Historically, The Four Seasons has transcended the boundaries of its Baroque origins to become a cultural touchstone, but this performance feels more like a nostalgic relic than a vital engagement with Vivaldi’s genius. While those who cherish the tradition of Ayo’s interpretation may find comfort in its familiarity, it is essential to recognize that the richness of Vivaldi’s work deserves an interpretation that fully embraces its dynamic contrasts and emotional landscapes.
In conclusion, while this recording holds a place in the historical tapestry of Vivaldi performances, it ultimately serves as a reminder of the advancements made in interpretative practice since its inception. For newcomers to Vivaldi’s enduring masterpieces, one would hope they are introduced through the lens of more invigorating performances that honor the spirit of the seasons with the vitality and urgency they so richly deserve.
