The complete concerto, «La Primavera» (Spring), from the Four Seasons. Voices of Music, Alana Youssefian, baroque violin. The concerto is here presented in 4K, ultra high definition video, performed on original instruments.
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For this video, a new edition was prepared from the original sources, prints and manuscripts for Vivaldis music. In preparing this performing edition, we made the musicological decision that the indication for mutes in the Allegro («con Sordine») for the violins is misplaced in the original print (there is no indication in the Manchester part books), and the mutes should be in the Largo (and, importantly, not in the final movement). The mutes now provide a textural fence between the violas and the soloist. Vivaldi writes that the last movement is a rustic dance to the sound of bagpipes (“Zampogna”). So we also listened to some old style Italian bagpipes and added a few notes to the drones in Vivaldis bass part to recreate this brilliant and special sound. Here is our new version, with the muted violins in the slow movement, and the vibrant, un-muted final allegro.
Ms Youssefian plays a baroque violin by Jason Viseltear, 2016, after Carlo Giuseppe Testore, Milan, at the sign of the eagle.
Special thanks to Michael Talbot. NB: Subtitles are by Antonio Vivaldi!
One can do worse to explain the Karajan phenomenon than examine the recordings he made for Decca. Paired with the sonic advances made by Deccas renowned engineers and served wonderfully by the Wiener Philharmoniker in Deccas famed recording venue, the Sofiensaal, these recordings best convey the experience of him live in the opera house and in concert.
Presented with original sleeves, and newly remastered, this limited edition 33CD set of Karajans complete Decca recordings includes a new essay by Karajan biographer Richard Osborne
«It would be an exaggeration to say that you need to hear Karajan live in the opera house fully to understand his genius; this is where the Decca legacy comes into its own. It was those recordings which he made during his time as director of the State Opera which best convey the experience of him live in the opera house, musically and in terms of sonic refinement and splendour» — Richard Osborne.
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