These two recent Vivaldi releases of the composer’s signature work set up an interesting comparison: Théotime Langlois de Swarte and his Le Consort take the period instrument route, while Daniel Pioro and the Manchester Camerata opt for modern instruments. Langlois de Swarte has made Vivaldi more or less a focal point of his recent projects, which include a previous releases of the composer’s concertos, some of which were world premieres. In a review of the latest of these releases, Tal Agam praised his virtuosity, but also the innate nuances of his playing. Although this is our first review of Daniel Pioro, I was intrigued by his re-imagining of this well-known set by including Vivaldi’s own sonnets as a sort of prologue to the entire work.
Langlois de Swarte’s attention to subtlety is immediately apparent in Spring. Where many performers present a sprightlier take on this time of year with drier staccato textures, Langlois de Swarte chooses to contour the two-note phrases in pronounced fashion. The resulting rounder texture is further amplified by the period instruments, which lack the stringent quality of their modern counterparts.
Daniel Pioro is charming and elegant in the first movement, and the pastoral character of the final movement comes through more effectively. The delightful sway is complemented by the effortless rhythmic freedom of his solos, which lend a pleasing vocal quality to his playing.
The two performances of Summer are indeed quite different; in my opinion, Langlois de Swarte delivers the more engaging interpretation. The sensitivities of the previous season are replaced by electrifying virtuosity, courtesy of the impressive fast passages: the performer evokes a sense of drive through a pristine clarity that never feels mechanical. The violin itself also has an almost husky quality, which adds to the character. Pioro’s Summer is slower, and while the Manchester Camerata under Michael Morpurgo attempts to bring a raw ferocity to the work with emphatic downbeats and accents, these efforts come across as stodgy.
Throughout the concerto—and much of the recordings—a notable difference emerges in the temperament and prominence of the harpsichords. Pioro’s ensemble uses a lighter-sounding instrument that blends well with the group, though it tends to get lost in densely textured movements like the finale of Summer. In contrast, the period recording features a harpsichord with a richer, denser tone, adding a powerful and distinctive dimension to the final movement.
Langlois de Swarte takes a very brisk and crisp approach to the opening movement of Autumn—a distinctly different view from the more relaxed interpretations by both Pioro and Alfia Bakieva with Jordi Savall (reviewed here). Given the refreshing and inviting nature of Vivaldi’s writing, I found the latter two interpretations more fitting, especially Pioro’s attention to switching up articulation as the musical material changes. The shift from staccato to legato not only offers welcome variety, but also helps define the character of different melodic material. The harpsichord gets its due spotlight in the slow movement, which is better executed by the keyboardist of Le Consort: the pacing and consequent fluidity feel more natural and bring the needed expressive momentum to the relatively static strings.
Those looking for a figurative “chill factor” in Winter will find it in the Pioro recording: I was admittedly taken aback by the sinister and truly creepy dissonances of the strings, but realized that this is quite a vibrant and imaginative take on a harsh season. Le Consort reverts to a more nuanced approach here, but that doesn’t make it boring by any means; there is still drama and angularity aplenty, especially as the string accompaniment grows louder and louder.
In terms of additional offerings, the Le Consort recording definitely has the upper hand: there is a lot more music to explore beyond The Four Seasons, and the performances are solid. As for the Pioro recording, I didn’t find the sonnet placement particularly effective: putting them all at the beginning (and recited in English instead of the original Italian) made the connection to the music feel disjointed. Perhaps Jordi Savall’s solution of offering two versions—with and without spoken sections—is the better one. All things considered, both recordings demonstrate excellent musicianship, though the balance tips in favor of Langlois de Swarte and his ensemble.
Vivaldi – Four Seasons – Recommended Comparisons
Biondi | Carmignola | Kennedy | Sato
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Album Details |
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|---|---|
| Album name | Vivaldi – Le Quattro Stagiono – de Swarte |
| Label | Harmonia Mundi |
| Catalogue No. | HMM90275758 |
| Amazon Music link | Stream here |
| Apple Music link | Stream here |
Check offers of this album on Amazon.
Album Details |
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|---|---|
| Album name | Vivaldi – The Four Seasons |
| Label | Platoon |
| Catalogue No. | PLAT25265 |
| Amazon Music link | Stream here |
| Apple Music link | Stream here |
| Artists | Daniel Pioro, Manchester Camerata |
