Notes and Editorial Reviews
This appealing new recording of The Four Seasons recalls (in period-instrument terms) the elegant, stylish recordings of I Musici and other top-notch Italian chamber orchestras. Martin Pearlman and soloist Christina Day Martinson approach the music through its vocal origins: everything sings, particularly the arias that constitute the slow movements of Spring and Winter, with their characterful ornamentation and sweet tone. Pearlman also presides over a restrained but crystal-clear continuo of harpsichord and theorbo, a far cry from some performances whose "everything including the kitchen sink" approach threatens to overwhelm the string ensemble.
I am not saying that these performances lack anything in the way of
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color or character. The opening of Winter has the requisite, raspy tone color, and the peasant dances in Autumn are nicely earthy. But unlike some other period-instrument versions (say, Harnoncourt or Il giardino armonico) Pearlman never sacrifices the music's cantabile lines in a relentless pursuit of programmatic detail (sometimes to the point of ugliness). The two Geminiani concertos make apt and enjoyable couplings, and Telarc's multi-channel sonics are very warm and naturally balanced, if perhaps just a touch lacking in presence. A fine release.
--David Hurwitz, ClassicsToday.com
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