Kremer/Abbado: Vivaldi 4 Seasons - DG 2531 287 (orig. LP issue, superb copy)
$
40
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Description
ITEM DESCRIPTION:
This handsome LP from Deutsche Grammophon (2531 287, German pressing, white circle label, stereo) features the original issue of Gidon Kremer’s dazzling account of Vivaldi’s 'The Four Seasons' Op. 8 Nos. 1-4, from 'The Trial of Harmony and Invention', recorded at St. John’s, Smith Square and Kingsway Hall on 1-2 February 1980 and on 3 April 1981 with Claudio Abbado conducting the London Symphony Orchestra (producer: Rainer Brock / engineer: Hans-Peter Schweigmann). Incidentally, among the other instrumentalists heard in this remarkable recording are harpsichordist Leslie Pearson and cellist Douglas Cummings.
Wrote veteran critic Ivan March in his review for the May 1982 issue of The Gramophone:
“In this recording the soloist is very much dominated by the conductor, and at times one feels left slightly breathless by the violence of his summer storms and the sheer vigour of his pacing of the dancing and hunting peasants. This is not to suggest that the solo playing is not equal to the brilliance of the conception, which it fully is, while Kremer plays the lyrical music very persuasively. Above all, Abbado goes for drama in his characterization of Vivaldi's very detailed programme (for which the full description of each movement on the sleeve carefully prepares the listener). The awakening of "Spring" brings an exhilaratingly extrovert bursting into blossom (helped by the bright and very lively recording) and in the slow movement the goatherd's dog barks with great insistence. The lassitude of "Summer" and the sweet breezes are gently delineated, but the arrival of the north wind is almost cataclysmic. This provides a greater contrast than usual for the short slow movement, while in "Autumn" a similar brisk pacing for the outer movements gives the sleepy inebriation of the Adagio an extra degree of hazy somnambulance. The opening of "Winter" is most evocatively done, and in the second movement Abbado creates a quite unique effect by virtually ignoring the Largo marking and emphasizing the pizzicatos to give a mandolin-like colouring that conjures up a rainshower most vividly. The finale closes with soloist and orchestra being blown away in a frenzied gale by the north wind and all the other winds. The orchestral balance is forward but Gidon Kremer is set slightly back. Leslie Pearson's nimble continuo (immediately ear-catching at the opening of "Spring" and very effective in "Autumn") uses organ as well as harpsichord and it is a pity that the piquant sounds he creates are diminished by the microphone placing. But if you want an account of the Seasons that is very vividly recorded, extremely extrovert in nature and different from traditional versions, this is it.”
Incidentally, the front cover art was executed by Klaus Steffens, Heidelberg. Liner notes on the reverse side of the jacket are provided in German (Klaus Hinrich Stahmer), as well as in English, French, and Italian (Michael Talbot). Vivaldi’s poems that prefaced these concertos are also provided in all four languages.
CONDITION:
The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.
The condition of the jacket is near-MINT. Still largely in the shinkwrap, the only flaw consists of very minor bumping/wear at corners. Otherwise, the album appears almost as new. There are no seamsplits, bends, owners’ markings, or other defects, and the jacket remains solid, bright, glossy, and highly attractive – overall, this rates as a truly fine collector's copy.
The condition of the LP itself is near-MINT and the playback is superb – overall, a very fine collector's copy.
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