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vivaldi / rebel  -  4 seasons; 4 elements / midori seiler, akademie für alte musik berlin, nuszbaumer, georg kallweit

 
  • Format : CD

  • Etat général : original neuf
  • Etat pochette : S (?)
  • Etat disque : S (?)

  • Label : HMF 2908746
  • Pressage : UPC/EAN: N/A - Austria
  • Année : 2015
  • Commentaire : Vivaldi: 4 Seasons; Rebel: Elements / Seiler, AAM Berlin Release Date: 03/09/2 ... Voir plus bas

  • Quantité disponible : 1
 
Commentaire du vendeur :
Vivaldi: 4 Seasons; Rebel: Elements / Seiler, AAM Berlin

Release Date: 03/09/2015
Label: Harmonia Mundi Catalog #: 2908746 Spars Code: DDD
Composer: Antonio Vivaldi, Jean-Féry Rebel
Performer: Midori Seiler
Orchestra/Ensemble: Academy for Ancient Music Berlin
Number of Discs: 1
Recorded in: Stereo
Lenght: 1 Hour 5 Mins.


Works on This Recording

1. Concertos (4) for Violin, Op. 8 no 1-4 "Four seasons" by Antonio Vivaldi
Performer: Midori Seiler (Violin)
Orchestra/Ensemble: Academy for Ancient Music Berlin
Period: Baroque
Written: 1725; Venice, Italy
2. Concerto for Violin in E major, Op. 8 no 1/RV 269 "Primavera" by Antonio Vivaldi
Performer: Midori Seiler (Violin)
Orchestra/Ensemble: Academy for Ancient Music Berlin
Period: Baroque
Written: circa 1725; Venice, Italy
3. Concerto for Violin in G minor, Op. 8 no 2/RV 315 "L'estate" by Antonio Vivaldi
Performer: Midori Seiler (Violin)
Orchestra/Ensemble: Academy for Ancient Music Berlin
Period: Baroque
Written: 1725; Venice, Italy
4. Concerto for Violin in F major, Op. 8 no 3/RV 293 "L'autunno" by Antonio Vivaldi
Performer: Midori Seiler (Violin)
Orchestra/Ensemble: Academy for Ancient Music Berlin
Period: Baroque
Written: 1725; Venice, Italy
5. Concerto for Violin in F minor, Op. 8 no 4/RV 297 "L'inverno" by Antonio Vivaldi
Performer: Midori Seiler (Violin)
Orchestra/Ensemble: Academy for Ancient Music Berlin
Period: Baroque
Written: 1725; Venice, Italy
6. Les élémens by Jean-Féry Rebel
Orchestra/Ensemble: Academy for Ancient Music Berlin
Period: Baroque
Written: 1737; Paris, France


Notes and Editorial Reviews

The reading is a curious hybrid: though the Akademie honors the period-instrument world's current fascination with assertiveness, it also takes ambitious textural and interpretive liberties.... Not only does the ensemble incorporate a double bass, for example, but it also uses the instrument to magnify the dramatic thunderstorm passages in “Spring” and “Summer” and the breaking of the ice in “Winter.” When the hunters catch their quarry in the finale of “Autumn,” a snapping string suggests the lethal shot, and the bass pounds home its finality.

Ms. Seiler's solo line is focused and often sizzling, and she makes a point of adding stylish ornamentation, along with programmatically freewheeling but defensible phrasing ideas. When the second movement of “Spring” evokes a sleeping goatherd, she gives the solo line an unabashedly dreamy quality. And when Vivaldi's peasants celebrate, in the finale of “Spring” and, especially, in the first movement of “Autumn,” Ms. Seiler's rubbery rubbery portamento and casual rhythms suggest alarming levels of inebriation. “Four Seasons” performances have grown increasingly colorful, but even the iconoclastic Nigel Kennedy has not taken it quite so far.

-- Alan Kozinn, The New York Times

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AllMusic Review by Uncle Dave Lewis [-]
Harmonia Mundi's Rebel: Elements -- Vivaldi: Four Seasons combines two of the Baroque's biggest instrumental barnburners as performed by one of the top period instrument groups in Europe, Akademie für Alte Musik, Berlin, under the leadership of concertmasters Clemens-Maria Nuszbaumer and Georg Kallweit and featuring their star attraction, violinist Midori Seiler. Like Vivaldi's often derided as over-familiar Four Seasons, Jean-Féry Rebel's 1737 ballet Les Éléments does not want for good recordings, but it is nowhere near as famous as the Vivaldi; this is the first time the two have been combined on a recording, and these pieces are quite compatible given their shared, programmatic purposes. Inasmuch as the Akademie für Alte Musik, Berlin is concerned, these recordings reflect a staged performance of the two works as prepared for a festival in Italy in the fall of 2009 in collaboration with choreographer Juan Kruz Diaz de Garaio Esnaola. Some might find that the staging of instrumental -- or at least non-dramatic -- classics borders on the faddish. Nevertheless, one of the best recordings ever made of Bach's B minor Mass -- that led by Thomas Hengelbrock for DHM in 1997 -- was based on a similar instance where the work was presented as a show rather than a "straight" public performance of Bach's never-intended-as-liturgical choral masterpiece.

For a musical text like Les Éléments, of which the content is something of a matter of debate given the incomplete form in which it has come down to us, Akademie für Alte Musik, Berlin's interpretation is remarkably fluid and evolutionary in keeping with Rebel's intentions of moving from Chaos through Creation. The performance evolves in a very patient and low-key way, from the crashing seven-note tone cluster that opens the work to the spring-like evocation of its final dances, and one can feel the sense of unfolding even down to the relative volume of the piece as it progresses through its various movements. This might not instantly become everyone's favorite recording of Vivaldi's Four Seasons, as it is meant to go with a performance and is tailored to fit to that; those familiar with the usual delivery of these four concerti might find this recording somewhat enigmatic and lacking in the usual fireworks. Nevertheless, it is an altogether original, daring, and completely valid reinterpretation of the piece; restrained, mysterious, and dramatically compelled, employing vibrant and occasionally violent contrasts. Seiler's interpretation of the solo violin in part is completely her own; in places where others linger, Seiler stabs through the passage like Hamlet stabbing Polonius through the curtain, whereas in passages that some violinists might perform on autopilot, Seiler finds a spot to indulge in an expressive figure or an ornament wholly unfamiliar, even to the seasoned Four Seasons listener.

Listeners well-attuned to the established story arc of the Four Seasons may well dismiss this as perverse; difference for the sake of being different. Perhaps one might not want to make this the only version of the Four Seasons to own. Nevertheless, enjoying the album as a whole -- both the Rebel and Vivaldi taken together -- is the recommended option; it is very fast moving and interesting in addition to being edgy and assertively exceptional. The DVD of Akademie für Alte Musik, Berlin's performance with Esnaola would probably be the best way to experience this radical and enterprising concept; nevertheless, Harmonia Mundi's CD is a riveting and revelatory experience that commends itself to listeners welcoming a second opinion on the Four Seasons and as an introduction to Les Éléments, a work that easily could withstand exposure beyond those expert in Baroque literature.

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AllMusic Review by Blair Sanderson [-]
First-rate recordings of Antonio Vivaldi's Four Seasons are never in short supply, and this 2015 Harmonia Mundi release is one of many that offer sparkling performances. However, the companion piece is the sensational 1737 ballet Les Éléments by Jean-Féry Rebel, and this is an uncommon gem that more listeners should discover. Considering that the Akademie für Alte Musik Berlin presents both works in exceptionally polished performances, it's only fair to distribute the praise evenly and accord the Four Seasons points for the brilliant playing by violinist Midori Seiler, and for the creative treatment of the orchestral parts. But the Rebel work is still something of a rarity in comparison with the Vivaldi, and with only a handful of fine performances of this masterpiece available, this one warrants serious attention from fans of vibrant and colorful Baroque music. Rebel's daring score depicts nothing less than the separation of the elements from primordial chaos, and his opening (track 1) features the most shocking dissonance in Baroque music. But the work progresses through several charming dances and inventive displays of orchestration that are singular for the era. Harmonia Mundi's recording is marvelous in capturing the details of the performances, though the prominent use of a bass drum in the Rebel performance may be a little disconcerting to listeners who like to boost their bass. Don't miss this recording.

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BBC Music MagazineMay 2010
A Four Seasons on autopilot from these period instrument players was never going to happen and the result is thrillingly visceral. Seiler hasn't set out merely to stand apart from the crowd...she and the Berliners have simply insisted on taking nothing for granted...the sheer flair of this new release dazzles as much as it delights.
****
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The Independent31st January 2010
Berlin's Akademie delivers an elegant performance with piquant avian effects.

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The Telegraph14th March 2010
Werner Güra is supremely intelligent and musically precise. His performance is always elegant and lucid

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The Times13th February 2010
Vivaldi's Four Seasons has been almost played into the ground, yet even the most jaded ears should perk up with this performance by Berlin's crack period instrument troupe. There is plenty of thrust and character detail (storm, buzzing flies, barking dog), but nothing is pushed to excess.
****
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Eine fabelhafte Midori Seiler

Diese Aufnahme folgt einer choreografischen Produktion mit Juan Kruz Diaz de Garaiao Esnaola. Nach dem unglaublichen Erfolg dieser Aufführungen beschloss das Orchester, diese Werke als reine Musikaufnahme noch einmal im Studio einzuspielen und seine Interpretation dank dieses außergewöhnlichen Experiments zu vertiefen.

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Rezensionen

Audio 09 / 10: »Das ist höchst temperamentvoll gespielt. Weder die Solistin Midori Seiler noch das Orchester scheuen Risiken. Sie lange beherzt zu und lassen die Saiten richtig krachen.«

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