This EMI release of The Four Seasons gives violinist Sarah Chang top billing (as would be expected) and the Orpheus Chamber Orchestra a smaller, less significant listing. As far as the quality of performance goes, however, Orpheus should absolutely be considered the star of this recording with Chang getting the footnote instead. This is simply not the case; from the ridiculously posed glamour photos filling the liner notes to the balance of the performance itself, this album is all about Chang. The most fulfilling aspects are the orchestral tuttis. Orpheus is truly at its best here, playing with as much energy and passion as the much ballyhooed recording with the Venice Baroque Orchestra.
Part of Tacet's "Tube Only" recording series. No transistors were used within the recordig chain.
The VIVALDI METAL PROJECT is a music creation born from an idea conceived and developed by Italian keyboard player, composer and producer MISTHERIA (solo artist, Bruce Dickinson, Rob Rock, Roy Z, Artlantica). The project is a symphonic-metal opera based on Antonio Vivaldi’s Baroque masterwork “The Four Seasons”, featuring more than 130 amazing metal and classical artists, orchestra, a string quartet and three choirs from all over the world. The album features 14 tracks - all the movements from Antonio Vivaldi's original score plus two original new songs written by MISTHERIA. The impressive roster of artists probably makes this titanic album the biggest all-star project ever!
This is Roland Grapow's first solo album outside the ranks of his band Helloween. For this album he is joined by fellow Helloween band members Uli Kusch and Markus Grosskopf as well as keyboardist Ferdy Doernberg from Axel Rudi Pell fame. The album while not dissimilar to Helloween's work is in more of a traditional neo-classical vein, and carries a strong Malmsteen vibe with it.
This is a 10 track collection of the group's hits that have been redone to make them more of a dance mix.
If listeners had to commit to a single version of Vivaldi's Four Seasons for the rest of their lives, this 1984 BIS recording would be thoroughly satisfying choice. Superbly played, brilliantly recorded period instrument performances of this perennial masterpiece are all but a dime a dozen, and the differences between Hogwood's and Pinnock's and Harnoncourt's readings don't begin to make up for the fatal boredom of their performances. This version with Nils-Erik Sparf and the Drottningholm Court Baroque Ensemble would be an ideal choice because theirs is the freshest performance of the piece. Beyond their excellent technique and impeccable sense of style, Sparf and the Swedish musicians bring joy and enthusiasm to the music, and sound like they are in turn receiving happiness and energy from the music. There's real pleasure here, and real affection, as if the concertos were newly composed and these were their world premieres. Filled out with witty accounts of Vivaldi's F major Concerto for Bassoon and his G minor Concerto for Flute and Bassoon, this disc is a delight.
Eschewing its usual heavy orchestral sound in favor of a more stripped-down instrumentation, Dutch violinist Janine Jansen's second album offers a fresh interpretation of one of the most performed classical works, Vivaldi's The Four Seasons. The 2005 follow-up to her Barry Wordsworth-conducted debut, the subtle but passionate renditions of the "La Primavera," "L'estate," "L'autunno," and "L'inverno" concertos are performed with a sparse, eight-piece ensemble including Lithuanian violinist Julian Rachlin, her cellist brother Maarten, and harpsichordist father Jan.