Vivaldi - La Stravaganza, 12 Concertos op.4 - Monica Huggett, Academy Ancient Music, Christopher Hogwood, L'Oiseau-Lyre 1987 : 無料・フリー素材/写真
Vivaldi - La Stravaganza, 12 Concertos op.4 - Monica Huggett, Academy Ancient Music, Christopher Hogwood, L'Oiseau-Lyre 1987 / Piano Piano!
| ライセンス | クリエイティブ・コモンズ 表示 2.1 |
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| 説明 | Rare Record. www.discogs.com/Antonio-Vivaldi-La-Stravaganza-12-Concert.... Gramophone Review:Just over four years ago Monica Huggett and the Academy of Ancient Music recorded the same set for L'Oiseau-Lyre. These were lyrical performances full of warmth and insight to the music, above all from Huggett, herself, whose readings of the slow movements of the A minor Concerto (No. 4) and the G major Concerto (No. 12) were outstandingly beautiful. The new set from Simon Stand age and The English Concert capitalizes on the weaknesses of the other, yet does not always match its strengths. Where I generally prefer The English Concert is in outer movements; here Pinnock injects a characteristic vitality, amounting even, at times, to passionate fervour. Such is the case in the opening Concerto in B flat whose outer movements are as energetic as anything else I know by Vivaldi. Pinnock understands this urgent side of the music and realizes it with fiery enthusiasm. The lyrical intervening Largo makes an affecting contrast and Standage does it justice with limpid, solo violin playing, poised and eloquent both in phrasing and ornamentation. Standage is comparably expressive in many of the remaining slow movements though sometimes I felt the ripieno element, when and where it occurs, a shade too assertive. Sometimes, too, I found a hint of astringency in Standage's tone as for example in the opening allegro of the A minor Concerto; but it is an occasional feature and, in the end, a small price to pay for so much else that is excellent.Nevertheless, my preference is for Huggett and the Academy of Ancient Music in the exquisitely crafted slow movement of this concerto whose suspensions, chromaticisms and wistful melody evoke an air of fairy-tale enchantment. Likewise in the concluding concerto of the set, in G major, with its outstandingly beautiful slow movement I prefer Hogwood's more intimate performance to Pinnock's weightier interpretation. Perhaps the Largo is a fraction too fast but, nevertheless, the lighter tread and greater sensibility of the ensemble reveals the poetry of this inspired movement more convincingly than the new performance. |
| 撮影日 | 2010-08-01 08:33:49 |
| 撮影者 | Piano Piano! |
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| カメラ | FinePix F31fd , FUJIFILM |
| 露出 | 0.026 sec (1/38) |
| 開放F値 | f/2.8 |
| 焦点距離 | 8 mm |