What are some sweet sounding instruments

: Shortly

content

Read on one side

Antonio Vivaldi: "Le Quattro Stagioni / Concerti in B minor (4 violins) and F major (3 violins)"

That would have prete rosso Vivaldi in Venice probably never dreamed that one of his concerti grossi would one day be played exclusively on the instruments of the great Antonio Stradivari. The most famous of the violin makers from Cremona was in that year 1725, when Vivaldi started his collection "The cimento dell’armonia e dell’invenzione (for example: "Dangerous experiment in harmony and originality") in Amsterdam had already entered its "late phase", had not reached the harmony of the "golden period" - but instead gained more tone volume. On the 250th anniversary of his death († December 18, 1727), his hometown had committed for the fifth time "Celebrazione Stradivariane" the fantastic and daring plan, a concert with only great instruments liutaio to organize - the recording is on this record. in front. Salvatöre Accardo begins as a soloist in Vivaldi's "Four Seasons" on an instrument from 1715 that formerly belonged to the violinist Joseph Joachim (today the proud property of the city of Cremona), a wonderfully soft yet powerful, very concentrated-sounding violin with a more warmth tending tone color, i.e. preferring even overtones ("Spring"). He plays the second concert ("Der Sommer") on his own "ex-Reynier" (1727), a full, perhaps not exactly rough, but somewhat rebellious instrument. For the "Autumn" Accardo took his extremely sweet sounding, with its playful colors, tenderly beguiling and yet also very warm "Firebird" (1718), and for the "Winter" he finally chose his "Hart", the former Zino Francescatti belonged and allowed this unforgettable violinist the characteristic clear, firm, distinct, but also very sweet and intimate tone. The modern CD technology including remote control makes the brutality possible: from a sentence of a concert directly to an expressive and tempo-related one of another concert - and thus to jump from one instrument to another in the shortest possible time. Up to now, it has probably not been possible to control and compare more clearly and more beautifully, closer and more directly how top-class instruments in particular quickly reveal their character and, despite all the relatives that siblings have, also reveal their peculiarities - which not only have chocolate sides: Even a Stradivarius sometimes sounds gruff, strict, a little tired. But the beauty of these melodic lines between virtuosity and sonority - the composer probably never met it; but he must have known or suspected how it could light up on a master instrument. That of course the whole accompanying apparatus (and all the solos in the two Concerti RV 551 and 580) are presented with the immense luxury of similar beauty (the "de Fontana" and the "Milanello", the violas "ex-Gibson" and "Mahler") as well as the cello "Gore-Booth"): the term sensation is not chosen too high. So listen, intensely and with the highest concentration, and let yourself be enchanted. It is almost like a drug: you have to hear it again and again - you are hypnotized by sound. At some point, of course, one is of the same conviction with Salvatöre Accardo: the "Hart" ("ex-Francescatti") is not even surpassed by the "Cremonense" - perhaps it is because one of them is constantly "moved" and " can live "while the other has to be looked at in the museum and is only allowed to be" carried out "occasionally for short moments. Nostalgia sends its regards - for a moment - who would write us these notes for such instruments again? (Philips 422 065)

Heinz Josef Herbort

Franz Schubert: "Eight Symphonies"

The Chamber Orchestra of Europe: the artistically most sympathetic vanguard of west-east unification efforts on the old continent - young musicians from twelve countries who, under Claudio Abbado, have developed into an elite ensemble committed to the highest standards. The question arises whether the role models, the Philharmonic from Vienna and Berlin, regardless of their undeniable merits, would ever bring so much lightheartedness and rousing freshness into play in the impetuous access to Schubert's symphonies. In terms of experience or strength potential, the older rulers from the Spree and Danube come up against them in terms of spontaneity, wit, unreflection and immediate bravado mixed people European provenance still on. The fact that, especially in the last two symphonies, there is, admittedly, a lack of intellectual depth, and that the enthusiastically revered idol Abbado does not fully master the art of well-proportioned transitions, may tarnish the picture a little. Nevertheless, any competition that wants to take on this highly qualified anthology has a hard time. Especially in the flexible, often palatable melodies and feather-light rhythms of Schubert, with his lightning-fast change of moods or in the structural density, the perfectly trained and fiery acting young troupe is able to express itself musically. The still undisguised sensorium hits the specific nerve of the often underestimated matter intuitively. Every dramatic outbreak touches the core. In terms of recording, the strings are occasionally neglected, but this overall recording is still brilliant. (DG 423 651) Peter Fuhrmann

Odetta: "Christmas Spirituals"

Perhaps this is the most sympathetic, the most lively, the most touching Christmas carol record this winter: lots of spirituals that sing about Mary and Jesus, i.e. the birth of Christ, in many different ways. They are mostly old songs, some of them - like the famous one "Go part it on the Mountain" - also known to us as folk songs. But that is not what makes the (re) encounter so appealing, but rather the singer Odetta, her beautiful, full, strikingly sonorous "black" alto voice, mostly used gently here. It's this swaying, slightly tense swing, it's the unobtrusive vibrato and the warmth of her singing; it is the clear, very natural, very musical articulation. You feel like you are in a wonderful, intimate chamber concert that gives you the feeling that it is not being given for anyone but yourself. The sensitive companions of Odetta contribute to this, especially the double bass player Bill Leo and the percussionist Carole Steele (with lyrical percussion tools, fine rustling bodies, bells, whisk). And sometimes Odetta doesn't need them all. Then she remains, who is in soul folk song what Ella Fitzgerald is in jazz and Jesse Norman in song singing, a capella - one with yourself, the melody, the message, your audience. (Publisher, "plans" 88658) Manfred Sack