鲜为一见的则是组建於1990年的凤凰古乐团，他们演奏来自欧洲各地作曲家两个多世纪的作品，围绕著一个朝圣之路的主题。且弹且吟还带反串的表演形式令人难忘，更加令人讚嘆的是他们对舞臺空间的戏剧化应用，不仅不断变换演奏位置，而且利用演奏者身体在臺上的位置来表现不同声音的远近及运动方向等等，一种活灵活现的古典演奏跃然而出。同臺演出的西班牙加泰罗尼亚女高音阿裏安娜·萨瓦尔（Arianna Savall）是著名音乐家Jordi Savall的女儿，她的声音纯凈饱满，在演唱本民族民歌时尤为惊艳。
Another new recording of The Four Seasons? And why not?
"I have never heard one that satisfied me better." Michael Talbot - BBC Radio 3 'CD Review'
Studio Master download from Linn Records. This album is licensed for download from Zig-Zag Territoires.
Not my own purchase, many thanks to the original seeder!
Amandine Beyer, who won the 2001 Vivaldi international competition in Turin, has released her superb recording of Vivaldi's Four Seasons. This is truly a performance that blows any cobwebs from the popular piece, and includes premiere recordings of newly reconstructed Vivaldi concertos.
"Majestic, gossamer, hypnotic. Perfect in every inflection of the phrasing, which the young soloist sculpts with a sense of space, magnificently served by the recorded sound." -- Le Monde
What makes this recording special? The first factor is the orchestra. It is 'one to a part', which is to say, one solo violin, one first violin, one second violin one viola, one cello, one bass plus continuo (usually harpsichord and theorbe). The liner notes argue convincingly that Vivaldi probably composed the Seasons for an orchestra of virtuosi none bigger than this. But, if you aren't convinced by historical conjecture, the sound of 'one to a part' will convince you. The rustic and expressive elements make this small orchestra ideal for the subject matter. For example, Carmignola's Sony recording of the Seasons is one of the best I've heard but there are a few problems. The interpretation is too polite and not rustic enough and the orchestra is too light in the bass and thin sounding. This recording improves on these elements. Amandine Beyer is fantastic as the soloist. She is a disciple of Carmignola and while her amazing virtuosic gift may not be quite as slick, her more rustic, natural playing is certainly on par with Vivadi's music. Perhaps an overlooked aspect of the Seasons is the orchestra writing. The main failing of the Carmignola recording was on the orchestra side and the engineering of the recording. Here, Gli Incogniti is every bit as dynamic as the soloist--just as Vivaldi intended.
After a traditional training in France (studies at the CNSM in Paris), she was attracted by the teaching of Chiara Banchini, which takes music and text as its central focus. Her approach involves a whole new phase of learning (including abandoning the chin-rest - the school known as ‘chin off' and extensive work on bowing to absorb the subtleties of ‘small-scale articulation') which makes it possible to reach a proper understanding of the texts of the seventeenth and eighteenth centuries, in terms of style and above all of rhetoric.
However, more recent music also appeals to Amandine: on her ‘modern' violin dating from 1832, she plays Luciano Berio, Karlheinz Stockhausen and Tristan-Patrice Challulau, and is looking forward to future collaborations with other composers whose work she admires, among them François Sarhan.
What counts in her eyes is an interpretation that is in harmony with the music of the century she is playing, an approach to the musical text that is honest and lucid, never gratuitous. Playing ‘chin off' is extremely difficult, and in a sense means one must enjoy taking risks, but in her opinion Baroque style and articulation are more authentically communicated in this way. Facing these successive technical challenges has in the end permitted her to acquire a stylistic ease that has given her a key to explore the whole repertoire.
"Majestic, Gossamer, hypnotic... Perfect in every inflection of the phrasing" - Pierre Gervasoni - Le Monde. Amandine Beyer created a major impression with her JS BACH 'Chaconne' in 2005 "Amandine Beyer's reading of the Chaconne ... is one of the very finest interpretation of the work that I have ever heard" - Joseph Magil - American Record Guide. Since then, she recorded with Zig-Zag Territoires major releases: JF REBEL in 2006 "Best interpreters of Rebel's chamber music I've yet heard ... Amandine Beyer could clearly give Manze several runs for his money" - Nick Morgan - BBC Music Magazine and in 2007 her Bach Violin concertos received a warm welcome "The effect is exhilarating - Beyer's fast speeds don't threaten perfect rhythmic control, and the group's playing has an admirable lightness of touch." - Duncan Druce - Gramophone October 2007.
"Amandine Beyer is a wonderfully expressive and sensitive violinist with a secure technique, clear and sonorous tone and discreet approach to ornamentation..." The Strad
01. Concerto pour deux violons et violoncelle RV 578a - Adagio e spiccato
02. Concerto pour deux violons et violoncelle RV 578a - Allegro
03. Concerto pour deux violons et violoncelle RV 578a - Largo e spiccato
04. Concerto pour deux violons et violoncelle RV 578a - Allegro
05. Concerto pour violon RV372 - Allegro molto e spiritoso
06. Concerto pour violon RV372 - Largo ma non molto
07. Concerto pour violon RV372 - Allegro
08. "La primavera" Allegro
09. "La primavera" Largo
10. "La primavera" Allegro
11. "L'Estate" Allegro non molto
12. "L'Estate" Adagio
13. "L'Estate" Presto
14. "L'autunno" Allegro
15. "L'autunno" Adagio molto
16. "L'autunno" Allegro
17. "L'inverno" Allegro non molto
18. "L'inverno" Largo
19. "L'inverno" Allegro
20. Concerto pour violon RV390 Andante molto
21. Concerto pour violon RV390 Allegro non molto
22. Concerto pour violon RV390 Larghetto
23. Concerto pour violon RV390 Allegro