Vivaldi was working in Mantua and had already written dozens of violin concertos prompted by the fact that he was probably the best violinist on the planet. If you’ve ever wondered how on earth a composer can describe specific human interactions or states of mind, in an orchestral work without recourse to setting words, then you’re thinking on the very same quandary that was occupying the sizeable brain of Antonio Vivaldi in the early 1720s. The crux of the issue was musical ‘description’. In these seemingly polite and pretty works, the composer opened a philosophical can of worms that continued to brim over with wriggling controversies for centuries. The Four Seasons had the theorists frothing too. And it wasn’t just the concert-going folk of northern Italy who experienced Vivaldi’s stylistic shot-in-the-arm. ![]() They might not have provoked a riot but, when Vivaldi’s Four Seasons were first heard in the early 1720s, their audience hadn’t heard anything quite like them before. Like those other seismic cultural milestones, Vivaldi’s most popular concertos also changed the course of musical history. Stravinsky’s Rite of Spring, Beethoven’s Fifth… and yes, Vivaldi’s The Four Seasons. Resumption in Quebec Saturday evening and Sunday afternoon.The Four Seasons: A Guide To Vivaldi’s Radical Violin Concertos Les Violons du Roy, Maurice Steger, recorder and conductor. 10 n° 2 “La Notte” and n° 3 “Il Gardellino”. Vivaldi: Concerto for two violins and cello in D minor, op. Hosokawa: Two movements of Singing Garden in Venice. Locatelli: Concerto grosso in C minor, op. The program was a good balance between Steger’s performance as conductor and as soloist, and the evening was exciting, with the musicians of Les Violons du Roy carried away by the charisma of this ball of energy.Īlbinoni: Concerto a 5 in G major, op. This is also a concern of Tan Dun ( Water Concerto) and Sofia Goubaïdoulina. For memo: Hosokawa is not the only one to have been interested in the sound of elements such as water. This meditative work makes an interesting cut before “Il Gardellino”. The simple sound of water flow connects the sections. The transition leading up to it is just brilliant, and Steger reproduces it almost as it is to create a bridge with Singing Garden in Venice by Toshio Hosokawa, composed mainly around reminiscences of this Largo. In the famous Concerto “The Note” of Vivaldi, it is the central Largo which is astounding. One notices there, for example, the intensity in the extinction of the movements. We have the proof with a firm, sharp and theatrical version of a masterpiece by Vivaldi: the Concerto op. 4 d’Albinoni in opening, articulated and energetic. Obviously, as he is a great musician, Maurice Steger does things with the utmost seriousness. Sharp and theatricalĪnd that is what is striking: as with the clarinettist Coppola, anything can happen the imagination is fertile, but it serves music and works without distorting them. “Il Gardellino” means “The Goldfinch”, and when Maurice Steger thinks he’s a bird, anything can happen. ![]() Sometimes he embroiders a dialogue with the violinist Pascale Giguère in “Il Gardellino”. ![]() The flautist and conductor seems to reinvent Vivaldi in the moment. Music with Steger is synonymous with joy.
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