|
| CRD (Full price) (CD) CRD3348/9 (two discs, nas:
134 minutes: ADD). |
|
Simon Standage with The English Concert under
Trevor Pinnock's direction made this recording of Vivaldi's 12 Concertos, Op. 8, over ten
years ago. More recently, it appeared on CD in a piecemeal fashion that seemed intended to
bewilder the prospective buyer. Now the two discs thankfully have swarmed and the set is
available in an intelligible format. I enjoyed the performances enormously when I first
heard them and reviewed themThe Four Seasons in 1976, and the remaining eight
concertos in 1978. Nothing since has really changed my mind. There is a delicacy in this
playing which, even though periodinstrument performances have gone from strength to
strength in the last decade, has not been surpassed by this ensemble. The finale of
"Spring" is a marvellous example of what I mean; here we have transparent
textures, expressive solo playing and a luminosity which exerts an almost fairy-tale magic
over the music. This playing seems more relaxed to my ears than it has sometimes struck me
on more recent occasions. Of course, there is no denying that both in respect of ensemble
and intonation there are aspects of these earlier performances which compare unfavourably
with the very high standards set today, but that is not to say that anything here falls
below what might generally be considered acceptable and for the most part the playing and
the interpretation rise very considerably above that. Another feature of this set which I
have grown to appreciate more and more is the sound of the recording itself which seems to
me almost ideal. CRD had a man of rare gifts in the late Simon Lawman and his recordings
invariably give me pleasure.
Now for a pro and a con. Rather than give the
buyer poor value for money, CRD have included two extra concertos, one for cello in B
minor RV424 and another for flute in D major, RV429. These are both attractive pieces and
are agilely played by Anthony Pleeth and Stephen Preston, respectively. How sad,
therefore, that an opportunity for an oboe player to come forward was not grasped. In the
Ninth and Twelfth Concertos of Op. 8 Vivaldi's solo instrument was an oboe though the
publisher allowed a choice between oboe and violin. Here a violin is preferred, but whilst
this might once have been seen as a drawback there are now at least two rival versions
which employ an oboe so the present solution perhaps after all, offers an interesting
alternative. Of the three sets of Vivaldi's Op. 8 on period instrumentsthe others
are with the Academy of Ancient Music directed by Christopher Hogwood (L'Oiseau-Lyre), and
the Vienna Concentus Musicus with Nikolaus Harnoncourt (Teldec/ASV)the
Standage/Pinnock version remains my favourite. There is a youthful exuberance about this
playing which, together with a marvellous recorded sound, makes it irresistible.
NA