# Anyone disappointed with Vivaldi's Other Output?



## neoshredder (Nov 7, 2011)

It seems to me that Albinoni's Op. 9 is the second best Vivalidi output after the Four Seasons. lol I think maybe he suffers from being too prolific similar to Haydn. We know how good he can be when he puts his mind heavily into a project. Of course my main interest interest are Orchestral Works. So this is basically what the topic is about. I can't speak for his vocal works.


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## Manxfeeder (Oct 19, 2010)

I'm not disappointed. I went through a Vivaldi phase a few years ago and am a little rusty on his instrumental works, but his L'Estro armonico is outstanding, especially at the hands of Fabio Biondi.


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## StlukesguildOhio (Dec 25, 2006)

I'm not disappointed with Vivaldi's output because I haven't limited myself to his instrumental works and thereby missed out on the strongest part of his entire oeuvre. You might just as well admit to being disappointed with Wagner, Verdi, and Rossini when in reality the problem is your own bias against vocal music.

Among my favorite instrumental works by Vivaldi... beyond The Four Seasons... I would include:

The Cello Sonatas:






The Violin Sonatas... especially perfromed by Eilabeth Wallfisch:






The Trio Sonatas... look for the Purcell Quartet with Elizabeth Wallfisch:






The Mandolin Concertos:






His vocal works, however, kick butt:


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## neoshredder (Nov 7, 2011)

I didn't say Vivaldi's other outputs weren't good. He raised the bar high with the Four Seasons though. Imo some of his Contemporaries maybe outdid him after that.


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## HarpsichordConcerto (Jan 1, 2010)

Vivaldi also wrote organ concertos. These were amongst the very first concertos ever written for keyboard and orchestra, along with Bach's harpsichord concertos and Handel's organ concertos.










Cello concertos, often containing cantabile / vocal idiom paralleling his vocal works. Ooops, sorry, nobody cares about his vocal works anyway.


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## Sid James (Feb 7, 2009)

_La Stravaganza_ and _L'Estro Armonico _are fine collections of concertos, just as good as _The Four Sea__sons_ (but granted, probably not as memorable, maybe because they lack that programmatic element).

But like all the great Baroque and CLassical Era composers, he did a good deal of 'sewing machine' type music. But basically unless its your passion, you don't need to listen to say all of his surviving cello concertos (I think there's about two dozen out there). So just go with what you want to go. I would recommend though his vocal works, even if just for a change (I mean I'm generally more into instrumental than vocal, but I do have a soft spot for choral). His 'Gloria' RV 589 is a great work, and even if you just limit yourself to that, it may well gel with you as it did with me.


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## Renaissance (Jul 10, 2012)

Actually, Vivaldi is one of few composers which I do really enjoy constantly. I like almost all his chamber concertos, trio sonatas, even vocal music. Particularly RV 105, RV 103, RV 85, concertos for lute, mandolin, cello, bassoon and violins, actually pretty much of all he wrote in the field of instrumental music.

If you have trouble finding some of his works, this helped me a lot ! However, with the mention that isn't exactly a top-notch box set, and all concertos have the tendency to sound in the same manner  But it is acceptable to me.


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## PetrB (Feb 28, 2012)

Not really, and other than one (there are probably more) Concerto for two mandolins, which is a strong charmer, I can not be of direct help....

But the following are new to me, and I thought you might enjoy them.....
Recomposed By Max Richter
Vivaldi - The Four Seasons 

















enjoy


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## hocket (Feb 21, 2010)

> Anyone disappointed with Vivaldi's Other Output?


Why would I be?

Sure there's some repetition in his catalogue but that's largely a result of writing variations on earlier concertos in order to fulfill commissions and earn a crust. Actually there's huge variety in his concertos.


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## bigshot (Nov 22, 2011)

I've been listening to the Brilliant Classics 40 CD Vivaldi set, and I think the quality is pretty consistent. I also got the Telemann and Handel boxes, as well as Scarlatti's sonatas by Scott Ross. This may make some people mad, but I'm finding that baroque music is very straightforward and doesn't really lend itself to the same sort of close listening that classical and romantic music does. It's very hard to listen to Dvorak symphonies or Beethoven late quartets as background music, but it's very easy to use baroque lute concertos or overtures that way. I'm not saying that as a bad thing, but so far, the vocal music is the only music I can really put a lot of focus into. The rest is pleasurable on a simpler level.

Bach is the huge exception. I haven't found any water treading or simple directness so far in my traversal of Bach's cantatas. They are as layered and varied as any romantic symphony. I'm totally sold on them. They may be the greatest body of work by a single composer ever.


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## neoshredder (Nov 7, 2011)

Yeah they all are pretty good. But I think Albinoni's Op. 9 is at a similar level to L'estro Armonico imo. Only Op. 8 with the Four Seasons I would put at another level. I think Trevor Pinnock put together the best list of Vivaldi's Concertos. I guess I gotta listen to La Stravaganza as well.


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## Vaneyes (May 11, 2010)

May I be so bold in stating Antonio Vivaldi rules Italian Baroque, and next would be Arcangelo Corelli.


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## LordBlackudder (Nov 13, 2010)

he is a one hit wonder


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## Head_case (Feb 5, 2010)

> *Anyone disappointed with Vivaldi's Other Output?*


Who is she again?

Oh yes. The one with the wonderful success line.

Here she is:










You can hear her songwriting here:

http://www.reverbnation.com/elenavivaldi#


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## nikola (Sep 7, 2012)

LordBlackudder said:


> he is a one hit wonder


:lol:
ok, this is somehow way wrong to say... I know enough of his stuff that I really do like BESIDE 4 Seasons.


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## neoshredder (Nov 7, 2011)

LordBlackudder said:


> he is a one hit wonder


Here is a question. Without the Four Seasons and his vocal works would put him ahead of Corelli and Albinoni? The other 2 Italians during the Baroque I reallly enjoy.


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## StlukesguildOhio (Dec 25, 2006)

May I be so bold in stating Antonio Vivaldi rules Italian Baroque, and next would be Arcangelo Corelli.

Honestly... who is his competition? Corelli? His body of great work is far too small in comparison to Vivaldi. Scarlatti? Both Alessandro and Domenico produced some marvelous works... but again the scale and breadth of Vivaldi's work surpasses either of them. Honestly, only Claudio Monteverdi can offer a real challenge to Vivaldi.


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## Llyranor (Dec 20, 2010)

Vivaldi is my favorite Baroque composer after Bach. I haven't even really explored his vocal/sacred works yet, and only dabbled a bit into his sonatas. So far, it's been mostly looking into his concerti.

For the 4 Seasons, I think Summer and Winter are amazing, but I don't even like Spring and Autumn that much. I much much much much much prefer his other concerti. Estro Armonico is probably my favorite composition of his. His chamber concerti (for multiple instruments) are absolutely amazing, and I'm really fond of some of his other violin concerti too.

I don't want to put down Pinnock/English Concert because I like them, because maybe their interpretation doesn't fit Vivaldi's style that well, and perhaps that's why you haven't warmed up to the rest of their works? It really took me having to listen properly to Italian-style HIP to really (REALLY REALLY REALLY) get into Vivaldi. Some days I'm completely obsessed by him. One day I want to go to Venice. If you have the Pinnock set for L'Estro Armonico, listen to the 1st mvt of the 6th concerto (I just did as I'm writing this post - unfortunately, can't find a version on youtube). I like it, but I find it too aristocratic/toned-down, not frenetic enough. Now, listen to this version from Biondi/Europa Galante:






I find absolutely full of energy, and the tone of the solo violin absolutely exquisite. It's so full of spirit, something that I find somewhat missing in the Pinnock version. It's in the ear of the beholder, of course, but to me this is how Vivaldi should be played. What do you think about this version?

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RV 107 is one I really love. I love the interaction between the recorder, oboe, bassoon, and violin (and the BC). It gets really insane after the build-up in the 3rd mvt (which starts at 5:23). Il Giardino Armonico does a great job with his chamber concerti.

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RV 558 is absolutely in insane in its grouping of soloists. Try two violins in tromba marina, two recorders, two mandolins, two chalumeaux, two theorbos, violoncello, strings and basso continuo. It's such a joy to listen to.

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For violin concerti, I like his Opus 4 - La Stravaganza. My preferred full set is by Rachel Podger.

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As for violin concerti with no sets, how about these for starters? (by Carmignola)
















I have to say I really enjoy them more than Spring and Autumn, at the very least. They seem to capture of the spirit of a fiddler (in a good way) in some way. Just listening to the tone of solo violin produce a sound that I'm completely in love with. Baroque violin produces my favorite instrument sound, and that's all thanks to Vivaldi.



Renaissance said:


> If you have trouble finding some of his works, this helped me a lot ! However, with the mention that isn't exactly a top-notch box set, and all concertos have the tendency to sound in the same manner  But it is acceptable to me.
> 
> View attachment 8281


I can't recommend this! I bought this boxset when I just started getting into Vivaldi. It is *nice* listening music. However, to me, it never captured the energetic spirit that I now associate with the Red Priest. "all concertos have the tendency to sound in the same manner" BECAUSE of their interpretation in this boxset.


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## tdc (Jan 17, 2011)

Definitely not disappointed with Vivaldi's other works, at the moment I prefer his Dixit Dominus RV595 to the Four Seasons. I'm also a huge fan of many of his other Choral works, Concertos and Sonatas, I still need to explore in depth his Operas, which after some brief initial listening seem quite good. I used to think Monteverdi was without question the greatest Italian Baroque composer, but I'm not so sure anymore. I also adore Scarlatti. I can't say I've really connected with Corelli just yet.


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## StlukesguildOhio (Dec 25, 2006)

Here is a question. Without the Four Seasons and his vocal works, (what) would put him ahead of Corelli and Albinoni?

The question seems pointless. Without his vocal works and works for Keyboard what would put Bach ahead of Rameau? Without his symphonies, piano sonatas, and string quartets how could Beethoven surpass Schubert? It's rather like you expect Vivaldi to win in some street brawl with his hands tied behind his back. Vivaldi far surpasses Corelli and Albinoni because of his vocal music... his operas, choral works, motets, etc... and even without the Four Seasons, his instrumental achievements are formidable if one only listens to the violin and cello sonatas, the violin concertos, the mandolin concertos, _L'estro Armonico_, _La Stravaganza_, the _Concert for the Prince of Poland_, etc...


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## Vaneyes (May 11, 2010)

Head_case said:


> Who is she again?
> 
> Oh yes. The one with the wonderful success line.
> 
> ...


Show the pic with the tooth missing.


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## Ramako (Apr 28, 2012)

Yes. But I am not so into Baroque music on the whole. I kind enjoy l'estro harmonica, but I would rather take Handel or Bach instead. Gloria is very good though...


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## neoshredder (Nov 7, 2011)

This thread has been helpful for me. Just ordered Op. 3 and Op.4 from Biondi and Podger.


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## Sid James (Feb 7, 2009)

neoshredder said:


> This thread has been helpful for me. Just ordered Op. 3 and Op.4 from Biondi and Podger.


That's good. Looks like there's a 'consensus' of sorts on this thread about 'La Stravaganza.' An acquaintance of mine, who is into this Baroque and other 'old style' stuff, thinks that 'La Stravaganza' is a finer collection overall than 'The Four Seasons.' I don't have an opinion on that (I really don't care), but I think that its one of his finest achievements, thats for sure.


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## neoshredder (Nov 7, 2011)

Sid James said:


> That's good. Looks like there's a 'consensus' of sorts on this thread about 'La Stravaganza.' An acquaintance of mine, who is into this Baroque and other 'old style' stuff, thinks that 'La Stravaganza' is a finer collection overall than 'The Four Seasons.' I don't have an opinion on that (I really don't care), but I think that its one of his finest achievements, thats for sure.


That's interesting. For me though the Four Seasons is the best work ever produced in Classical Music. But I have heard it too many times at this point. It's time for me to branch out. Albinoni's Op. 9 and Corelli's Op. 6 (and 5) are also great.


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## hocket (Feb 21, 2010)

bigshot said:


> This may make some people mad, but I'm finding that baroque music is very straightforward and doesn't really lend itself to the same sort of close listening that classical and romantic music does. It's very hard to listen to Dvorak symphonies or Beethoven late quartets as background music, but it's very easy to use baroque lute concertos or overtures that way. I'm not saying that as a bad thing, but so far, the vocal music is the only music I can really put a lot of focus into. The rest is pleasurable on a simpler level.


Don't worry, I'm not going to get mad...

I understand what you're saying and would accept that it's true up to a point (at least where Vivaldi is concerned). Baroque concertos are supposed to be able to be used as background music (indeed in many cases such as the Brandenburg Concertos, Telemann's Tafelmusik, William Lawes' Royall Consorts or Delalande's Musique pour le Souper du Roy, that's their precise purpose), but that doesn't mean that they don't bear close listening. You should bear in mind that Galant music like Vivaldi's doesn't function in the same way as Classical or Romantic music and its strengths lie elsewhere. People who are into those kinds of music often admire Bach because he's structurally very sophisticated and from their listening experience that's something they're conditioned to respond to -as such I suspect you may be looking for a payoff in the wrong place. Galant music tends to be structurally much simpler and more direct than classical (or baroque), you're not going to get the kind of sleight of hand or sophistication from Vivaldi that you would from, say, Mozart in that regard. Vivaldi's qualities are immense though -he's one of the most sensual composers ever (only Purcell and Couperin spring immediately to mind to rival him). He has an extraordinarily rich aural palette and delights in the sounds of instruments -Vivaldi's an aesthete who just loves sensuality.

That's a key difference: something like Beethoven is about ideas, but Vivaldi is about sounds.

Llyranor posted up some great clips which are well worth checking out. Take a look at that Giardino clip I posted earlier of rv428 and just listen to the way he's revelling in the sound of that flute (recorder) -you'd never hear anything remotely like that from a Romantic era composer (that's not intended as a criticism,just an observation about different areas of focus in different eras) -it's all about the sound itself. The Biondi clip of rv558 is a great example of Vivaldi's desire to play around with every instrument. You can listen to each part individually, you can listen to the whole and you can listen to the interplay of parts -all are rewarding and give you a sense of Vivaldi's very physical appreciation of beauty.

Nonetheless I don't think anyone should get the impression that he's shallow and incapable of intimate or introspective music and I posted those clips of Carmignola with the Sonatori de la Gioiosa Marca (I prefer that to his Venice Baroque Orchestra stuff which is also great but the modern instruments can sound a bit 'tinny') for that reason as he places more emphasis on those aspects of Vivaldi. It's passionate music.


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## hocket (Feb 21, 2010)

neoshredder said:


> It's time for me to branch out.


Maybe so. No offense but your head seems to be spinning at the moment. It seems like only weeks ago that you discovered Biondi as if you'd just reinvented the wheel. Now you find out that Corelli and Albinoni are pretty good too (and there's an awful lot more to Albinoni than just Op.9 -indeed *StLuke's*, Albinoni was a noted opera composer in his day too; they just haven't been revived as yet). As a result I'm finding it a little difficult to take your sudden 'Vivaldi panic attack' too seriously. I know you've got Europa Galante's Tempesta di Mare CD and there's no shortage of music of real invention and passion on there -I can't help but get the impression that you're experiencing not so much a critical re-evaluation but rather a crisis of faith...



> May I be so bold in stating Antonio Vivaldi rules Italian Baroque, and next would be Arcangelo Corelli.


With the likes of Monteverdi and Carissimi about? Hardly. Vivaldi and Corelli are great stuff but Italian baroque is populated by a considerable number of immense composers. What of Stradella, Cesti, the Scarlatti's, Frescobaldi, Caldara, Legrenzi, Merula, and many more.

*Sid James wrote:*



> An acquaintance of mine, who is into this Baroque and other 'old style' stuff, thinks that 'La Stravaganza' is a finer collection overall than 'The Four Seasons.'


I'm sure you actually meant that _La Stravaganza_ is a finer collection than _Il cimento dell'armonia e dell'inventione_. It's not really a fair contest against just the fab four.


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## hocket (Feb 21, 2010)

*Llyranor wrote:*



> _Originally Posted by *Renaissance* View Post
> If you have trouble finding some of his works, this helped me a lot ! However, with the mention that isn't exactly a top-notch box set, and all concertos have the tendency to sound in the same manner But it is acceptable to me._
> 
> I can't recommend this! I bought this boxset when I just started getting into Vivaldi. It is *nice* listening music. However, to me, it never captured the energetic spirit that I now associate with the Red Priest. "all concertos have the tendency to sound in the same manner" BECAUSE of their interpretation in this boxset.


Yeah, I Musici tend to take a bit more flak than they deserve, it's pleasant enough and they did an awful lot to revive Vivaldi. Nonetheless, I can't fault your criticisms. I Musici do typify an era where people, no doubt influenced by preconceived notions derived from the common practice era, felt it necessary to 'clean up' Vivaldi and edit out the sounds that they felt were 'wrong'. That's just one of the reasons they have so much less excitement, daring and verve than Biondi and those who have followed him. Second rate Vivaldi recordings can give you a very distorted impression of him. Just say no to sanitized Vivaldi!


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## neoshredder (Nov 7, 2011)

Spinning? Yeah I guess the Tempesta di Mare cd didn't impress me that much. And Pinnock was my guy for a long time. I didn't think it was necessary expand to Biondi before that. But I reallly liked Biondi's 4 Seasons. And what other Albinoni do you recommend?


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## HarpsichordConcerto (Jan 1, 2010)

neoshredder said:


> ...And what other Albinoni do you recommend?


Simon Standage is Professor of Baroque Violin at the Royal Academy of Music, London.


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## neoshredder (Nov 7, 2011)

I guess I just have a tendency to overanalyze music. I do think there are many Baroque Composers that have very good works comparable to Vivaldi's. I guess that was my point.


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## hocket (Feb 21, 2010)

The Op.10 recording is the only one of it I have, it's on modern instruments unfortunately but the concertos are still great (and Carmignola plays on some of them).

...and yes, the Collegium Musicum 90 recordings are decent too.


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## tdc (Jan 17, 2011)

bigshot said:


> I've been listening to the Brilliant Classics 40 CD Vivaldi set, and I think the quality is pretty consistent. I also got the Telemann and Handel boxes, as well as Scarlatti's sonatas by Scott Ross. This may make some people mad, but I'm finding that baroque music is very straightforward and doesn't really lend itself to the same sort of close listening that classical and romantic music does. *It's very hard to listen to Dvorak symphonies or Beethoven late quartets as background music*, but it's very easy to use baroque lute concertos or overtures that way. I'm not saying that as a bad thing, but so far, the vocal music is the only music I can really put a lot of focus into. The rest is pleasurable on a simpler level.


I think ideally music should be pleasant as background music and also reward close listening. Music can serve more than one purpose. If something is annoying to listen to over dinner or at social occasions etc. I don't necessarily see this as an advantage musically. I would also agree with hocket that most Vivaldi does reward close listening, its emphasis and strengths are just in different areas. I also don't think complex is necessarily better than simple, there are advantages to both approaches and again I think music can have elements of both simplicity and complexity simultaneously. Sometimes an artist wants to express something where one of these elements is more dominant over the other, and again that is also fine - but it may limit the purposes and/or usefulness of the music.


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## HarpsichordConcerto (Jan 1, 2010)

Now that folks have the opportunity to discuss Vivaldi's instrumental music, I think it's time to look at his operas. Record label Naive have been releasing many of them, all recorded not that long ago. Definitely worth a listen. The operas will make you consider Vivaldi differently, and then folks can "graduate" from entry-level _Four Seasons_. 

I have posted six picture, constrained by the measly requirement.


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## Sid James (Feb 7, 2009)

hocket said:


> I'm sure you actually meant that _La Stravaganza_ is a finer collection than _Il cimento dell'armonia e dell'inventione_. It's not really a fair contest against just the fab four.


Yes, I'm aware of the other concertos in the _Four Seasons _set. I actually have all of them on cd, but its been a while since I've heard them. I do plan however to revisit Vivaldi's choral music, which I also have on cd. A concert of that famous _Gloria_ I was talking of earlier sparked off my interest in that, and I acquired that and other works on cd.


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## MaestroViolinist (May 22, 2012)

HarpsichordConcerto said:


> The operas will make you consider Vivaldi differently, and then folks can "graduate" from entry-level _Four Seasons_.


No one ever entirely graduates from his Four Seasons, they are just too good.


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## neoshredder (Nov 7, 2011)

MaestroViolinist said:


> No one ever entirely graduates from his Four Seasons, they are just too good.


That is an understatement.


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## MaestroViolinist (May 22, 2012)

neoshredder said:


> That is an understatement.


*Sniff* Oh yeah, how would you describe them, then?


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## Sid James (Feb 7, 2009)

MaestroViolinist said:


> No one ever entirely graduates from his Four Seasons, they are just too good.


& one of the most recorded pieces of music in all classical to boot! Also, there's some great arrangments of it. Raymond Fol's jazz version done in Paris in the late 1960's is great. On more days than not, I like it more than the original! I won't post it, its not exactly on topic, but its on youtube. When a piece has arrangments and transcriptions made of it, that's another indicator of its adaptibility by each new generation. Its not just an archeological relic, but anyway. Keep in mind that _The Four Seasons _was only rediscoverd in the 1950's or so.


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## neoshredder (Nov 7, 2011)

I'll stick with Biondi's version of the 4 Seasons. I can't imagine it being performed better.


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## MaestroViolinist (May 22, 2012)

neoshredder said:


> I'll stick with Biondi's version of the 4 Seasons. I can't imagine it being performed better.


He's good, but I prefer Spivakov and the Moscow Virtuosi.


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## Llyranor (Dec 20, 2010)

neoshredder said:


> I'll stick with Biondi's version of the 4 Seasons. I can't imagine it being performed better.


What do you think of this one? (played one-to-a-part)


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## bigshot (Nov 22, 2011)

tdc said:


> I think ideally music should be pleasant as background music and also reward close listening. Music can serve more than one purpose. If something is annoying to listen to over dinner or at social occasions etc. I don't necessarily see this as an advantage musically. I would also agree with hocket that most Vivaldi does reward close listening, its emphasis and strengths are just in different areas. I also don't think complex is necessarily better than simple, there are advantages to both approaches and again I think music can have elements of both simplicity and complexity simultaneously. Sometimes an artist wants to express something where one of these elements is more dominant over the other, and again that is also fine - but it may limit the purposes and/or usefulness of the music.


I basically agree with you. But I don't generally look to classical music for superficial background music. I think there are better genres for that. Classical music should reward close attention.

I have a theory on the amount of attention it takes to appreciate a complex work. There are two types of complex... Ones that express complex emotions with lots of contrasts, and ones that are more like math, with complex forms and structure. I tend to be more interested in the former than the latter. It's why I appreciate classic jazz more than late modern jazz too. It gets to be way too much like math.

I think a lot of my problem with baroque music stems from performance style. The HIP stranglehold that is held on baroque music has driven a lot of my enjoyment out of the music. I got Scarlatti's sonatas by Scott Ross and I love the music, but the harpsichord flattens it all out. I'd like it much more on a modern piano.


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## tdc (Jan 17, 2011)

^ Interesting bigshot. One of the strange things about me is I often enjoy complex music (and absorb more from it) when I am listening to it as background music. I really don't know why this is, but when I sit and pay close attention I often miss things that I'll catch later listening to it as background music. Bartok's String Quartets are a good example of compositions that work this way for me for whatever reason. So I don't personally think all background listening is superficial.


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## bigshot (Nov 22, 2011)

Well, my favorite Bartok is the stuff that comes the closest to the folk music. The rest of his output seems like "math music" to me. I've never been able to get anything out of "Concerto for Orchestra". I've tried over and over with at least ten different recordings. For now, I've set it aside until I get it.


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## tdc (Jan 17, 2011)

Lol maybe you should try listening to it in the background sometime. :lol:

But seriously as great as that work is, I personally think he is at his best in the SQ's, the Piano Concertos, and Bluebeard's Castle. The Violin Concertos are pretty great too, as well as MFPSAC, and The Miraculous Mandarin.

I don't consider Bartok 'easy' music though. If you don't naturally gravitate towards his style, it may never click with you.


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## bigshot (Nov 22, 2011)

The string quartets have been the closest I've come to Bartok. Also some solo piano.


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## hocket (Feb 21, 2010)

Hey neoshredder,

I was still a little taken aback by your apparently being underwhelmed by Vivaldi's concertos outside of the Four Seasons. Just looking at a record I know you have there's these truly outstanding concertos (neither of which Pinnock recorded AFAIK):

Per eco in lontano:











Il riposo:






Maybe they deserve another listen?

As you say there are plenty of other excellent concerto writers. Have you tried Locatelli, Geminiani, Veracini or Tartini yet?


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## PlaySalieri (Jun 3, 2012)

I would probably rather sit down with a stack of vivaldi than many other composers I can think of from that era. The 4 seasons sounds like the work of a major master - in much the same way as Bruch's 2 great violin works - the 1st vc and the scot fantasy. The mandolin concerto is a beautiful piece too - though not in the mighty league like the 4 seasons, so is the concerto in e minor and there are no doubt many more attractive pieces plus othetr genres. I suppose you could call V a 1 hit wonder - but what a hit.


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## oogabooha (Nov 22, 2011)

I'm very pleased with his work beyond the four seasons, actually...I agree with stlukes, because if you only limit yourself to his instrumental music, you're missing out.


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## neoshredder (Nov 7, 2011)

Tbh I'd rather listen to Biber's (or Corellii's) Violin Sonatas than Vivaldi's Other Concertos. If only Vivaldi was ambitious about his other Concertos the way he was to the Four Seasons. But I guess that one hit could be the best hit of all-time. At least one of the most popular ever. Vivaldi's Concertos are nice though. Good background music.


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## hocket (Feb 21, 2010)

neoshredder said:


> Tbh I'd rather listen to Biber's (or Corellii's) Violin Sonatas than Vivaldi's Other Concertos.


Quite frankly I'd rather listen to those than The Four Seasons too.


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## Bradius (Dec 11, 2012)

I love Vivaldi. Get a good HIP ensemble and dig in!


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## chrisco97 (May 22, 2013)

No, not at all! I love almost everything I have heard by him, including the vocal works...and I am not a fan of vocal works. I especially love his bassoon, mandolin and cello concerti. I am also a fan of his late violin concerti I have heard performed by Giuiliano Carmignola...great stuff!


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## neoshredder (Nov 7, 2011)

Old thread that I didn't expect brought back. I just am too aware of chord progressions. And Vivaldi likes to use certain chord progressions too often for my liking. I prefer Telemann as it seems he varies his style more. A little more experimental while still in the Baroque Era. But I still get nostalgic feelings towards the Four Seasons. Just wish he could write more Concertos as memorable as the Four Seasons. The closest I've gotten to that is his Guitar Concerto.


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## Guest (Oct 24, 2013)

Well, one thing is for sure, Vivaldi is dead. Was dead long before neoshredder was even born.


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## eyeman (Oct 3, 2013)

neoshredder said:


> This thread has been helpful for me. Just ordered Op. 3 and Op.4 from Biondi and Podger.


I would also highly recommend Opera 9 'La Cetra'


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