Competition! Best violin interpretation of Antonio Vivaldi’s Four Seasons “Winter” First Movement, Allegro non molt

[Kuoppis]

- Composition: Vivaldi’s Concerto No. 4 in F minor, Op. 8, RV 297, "Winter" (L'inverno) Allegro non molto (in F minor)
- Instrument: Lead violin

Here’s the background: at some point I was collecting Vivaldi Four Season’s interpretations in order to find the best interpretation of this piece.

The challenge is tempo between conductor and the solist being tough to get right, hard to align and even more difficult to bring together in a dynamic performance. I find that maybe 80-90% even of the world’s top violinists fumble this somehow.

And, this is of course completely semi-serious, so no Magico/ Wilson discussion kind of time-wasting.

Here’s my best pick: Itzhak Perlman with the Israel Philharmonic Orchestra.

Verdict: In my view this one is great, as Perlman is a technically stellar violinist and has the skills to play the fast parts both accurately and with a nice phrasing. And as he is also acting as the conductor he is guiding the orchestra to correct speed and dynamics.


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[Kuoppis]

The Drottningholm Baroque Ensemble, Nils-Erik Sparf

Verdict: I find the orchestra lacking a bit in dynamic in the beginning, but Sparf brings very nice tempo and temperament into play and the orchestra catches up very well in the crescendo part.

What is particularly nice about this one is that the orchestra plays with Baroque instruments as well, which sound a bit different as well.


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[Kuoppis]

Here’s Itzhak Perlman again, this time with the London Philharmonic Orchestra.

Verdict: Again the great Perlman, but I find him a bit snappier in the first recording. And this time with a conductor, the orchestra dragging its feet a bit.


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[Kuoppis]

Anne-Sophie Mutter (with an unknown orchestra, kind of tells it all already).

Verdict: good Anne-Sophie, keen to show off her technical talent, completely fumbles the timing. While this is an orchestral piece, she appears to think she is playing solo. Also ‘interesting’ play by the band omitting some notes in the orchestra staccato.


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[Kuoppis]

Sonatori de la Gioiosa Marca with Giuliano Carmignola.

Verdict: While Carmignola gets the difficult first part right and the orchestra also follows well, towards the end he throws in some staccato interpretation where none belongs. That throws the composition as a whole a little bit off balance, as the dynamic between the staccato and the flow is disrupted. Artictic freedom, but I don’t like it.


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[Kuoppis]

English Chamber Orchestra & classic music Punk Nigel Kennedy.

Verdict: A bit individualistic interpretation, but very interesting phrasing with the piano and forte parts. Technically superb, but not entirely sure whether he plays exactly what’s on the sheet though.


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[Kuoppis]

Orchestra da Camera Italiana, Salvatore Accardo.

Verdict: Italians playing Italian music seems to work well, nice interpretation and nice arrangement with the cembalo. Here also Accardo playing solo and conducting leads to better harmony between and the rhythm section. Great technique and in my book so far a great second, just happen to find Perlman a tiny bit more vibrant.


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[GSOphile]

Excellent, enjoyable thread, Kuoppis.

 

[bart]

Nice comparison.
I also like Amandine Beyer with her ensemble Gli Incogniti.
You can find it in this box:

Italiane Baroque

It's also on Tidal.

 

[Kuoppis]

Excellent, enjoyable thread, Kuoppis.

Thank you, glad you like it. Please share in case you have something Four Seasonish in you collection you particularly like.


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[Kuoppis]

It's also on Tidal.

I’m sorry not all my postings are available on Tidal, but some of them enjoy popularity among classical music lovers.


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[Kuoppis]

Nice comparison.
I also like Amandine Beyer with her ensemble Gli Incogniti.
You can find it in this box: Italiane Baroque

I like the build-up to the first crescendo, where the Cembalo puts in this slightly delayed stretch-chord. But generally seen I do prefer a slightly more pronounced soloist, also the sound of the lead violin could be better. Perlman’s violin sounds better IMHO.

In terms of the solo crescendi Amandine Beyer fumbles it a little bit trying to play it too fast. I also find the tempo generally a bit odd in this interpretation.

PS: This is funny - after writing that I prefer Perlmans violin sound better I checked on Wikipedia what he is actually playing:

Perlman plays the Soil Stradivarius violin of 1714, formerly owned by Yehudi Menuhin and considered one of the finest violins made during Stradivari's "golden period." Perlman also plays the Guarneri del Gesu 1743 'Sauret' [13] and the Carlo Bergonzi 1740 'ex-Kreisler'.

Well, that instrument selection truly is hard to beat. Now I know why that kind of violin costs a couple of millions.

What I also did not know is that Perlman received a Grammy in 1977 for a Four Season’s recording and won another competition before that for his “Winter” interpretation (also from his Wikipedia profile).


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[Kuoppis]

There’s a thing about this first movement: I think the fast follow-ups of string runs are technically difficult to play. Hence there is a temptation to try to play them very fast to display one’s virtuosity. And well, violin soloists are typically not renown for humbleness.

But still, the composer’s guidance is “allegro, non molto”. That’s why I think Perlman has gotten it so right, because he is not going into that trap while having the required virtuosity. Instead he plays it squeaky clean.

Anne-Sophie Mutter manages an impressive vibrato at the end of the runs, but the runs are not entirely clean and timing is out of sync. The challenge of her interpretation is that she has to speed-up the runs in order to have sufficient time for the vibrato.

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[Kuoppis]

Any Jascha Heifetz, Pinchas Zukerman, David Oistrach interpretations you are aware of? I have found none.

It might be that after Perlman nailed it in the 60’s other violin greats did not want to compete.


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[nonesup]

Hi Kuopis seems to really have musical knowledge, I always envied that. I think that whoever has them can obtain a plus of musical satisfaction.
For me, my favorite interpretation is that of Pina Carmirelli.

 

[bart]

- Composition: Vivaldi’s Concerto No. 4 in F minor, Op. 8, RV 297, "Winter" (L'inverno) Allegro non molto (in F minor)
- Instrument: Lead violin

Here’s the background: at some point I was collecting Vivaldi Four Season’s interpretations in order to find the best interpretation of this piece.

The challenge is tempo between conductor and the solist being tough to get right, hard to align and even more difficult to bring together in a dynamic performance. I find that maybe 80-90% even of the world’s top violinists fumble this somehow.

And, this is of course completely semi-serious, so no Magico/ Wilson discussion kind of time-wasting.

Here’s my best pick: Itzhak Perlman with the Israel Philharmonic Orchestra.

Verdict: In my view this one is great, as Perlman is a technically stellar violinist and has the skills to play the fast parts both accurately and with a nice phrasing. And as he is also acting as the conductor he is guiding the orchestra to correct speed and dynamics.


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Will listen to it! :thumbsup:

 

[Kuoppis]

Hi Kuopis seems to really have musical knowledge, I always envied that. I think that whoever has them can obtain a plus of musical satisfaction.
For me, my favorite interpretation is that of Pina Carmirelli.

Tried to find it but was not immediately successful finding a Carmirelli interpretation. But I will investigate further.

On the way I found another Italian maestro: Giuliano Carmignola.

Verdict: Listening to Carmignola playing is like driving in a Ferrari, very dramatic. Really fast pace, nevertheless not losing any notes and good alignment with the orchestra as well. Like this interpretation also.

I would nevertheless make the “non molto” argument also here again - we’re talking about winter after all, which should be somewhat subdued. While I like it, the tempo is quite high.

But I like his style on the cover, looks really Italian [emoji3].


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[Kuoppis]

Omitted one more famous master in my earlier listing: Yehudi Menuhin.

Verdict: I like the soloist very much, quite similar to Perlman - maybe the latter actually studied with the first. This is as his violin became a hand-me-down to Perlman later on [emoji3].

Very pronounced and meticulous play. I also wonder whether he is actually playing the same Stradivarius as Perlman, as the violin’s tonality sounds quite a bit alike, compared to the first Perlman recording.

For me the let-down here is the orchestra. In the beginning the slow pace builds up drama quite nicely and forms a contrast to Menuhin’s expressive solo entry. But then unfortunately in the first chorus the orchestra tempo appears a bit stompy, so that Menuhin appears to try to speed them up a bit in the second solo part.

Rather good, but not perfect IMHO.

 

[Narayan]

Other competitors that in my modest opinion are a must listen:

Arthur Grumiaux with Les Solistes Romandes (I think this was only issued on vinyl but might be mistaken)
Gil Shaham with the Orpheus Chamber Orchestra
Renato Fasano with the Virtuosi di Roma
Henryk Szering and the English Chamber Orchestra
Gerard Shwarz & Elmar Oliveira with the Los Angeles Chamber Orchestra
Seiji Ozawa & Boston Symphony Orchestra
(I also second the I Musici & Pina Carmirelli version)

 

[Kuoppis]

Now I found the Carmirelli version:

Agree this is a very nice version and well played. But her timing is IMHO not quite as impeccable as Perlman’s.

Impact of definition and timing become most evident when the solist is playing the fast double quartoles in rising and descending order. The rising sequences are much easier to play and hence most violinists very slightly lose tempo in the downward double quartoles.

I still find Perlman having a bit nicer sound, slightly better timing, and a tad better note definition in his play. In that version the Cembalo also plays a nice melody during the intro, not just the staccato. Gives it a bit more flow.

But is it indeed a very nice version, thanks for sharing.


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