Vivaldi: The Four Seasons (UltraHD review)

Joseph Silverstein, violin; Seiji Ozawa, Boston Symphony Orchestra. LIM UHD 054.

When I first heard this recording in the early Eighties, Telarc had just released it on LP, and I’m afraid at the time it did not particularly impress me. As I recall, I found the performance too refined, too sedate, for my taste. I guess I had by then become used to more lively performances, many of them by period-instruments bands, and thought violinist Joseph Silverstein, conductor Seiji Ozawa, and players from the Boston Symphony Orchestra a bit too genteel for me. Well, that was then and this is now. Listening anew to the album in a recent LIM UltraHD audiophile remaster, I must admit the performance is rather refreshing and its approach not quite as relaxed as I remembered.

Sure, Italian violinist and composer Antonio Vivaldi (1678-1741) wrote hundreds of pieces of music, yet most people probably only know him for his Four Seasons violin concertos, the little tone poems with their chirping birds, galumphing horses, barking hounds, dripping icicles, and howling winds. Meant to accompany four descriptive sonnets, they make up the first four sections of a longer work the composer wrote in 1723 titled Il cimento dell'armonia e dell'inventione (The Contest between Harmony and Invention). People hardly remember the other eight concertos in the set.

Silverstein begins the Spring Concerto at a deliberate pace, yet it isn’t slow or heavy. Where Silverstein’s performance, played on a 1742 Guarneri del Gesu violin, comes to the fore, however, is in the slow movement, where it is exquisite in its execution. Neither Silverstein nor Ozawa attempts to embellish the music any further than necessary so, no, we don’t get quite as imaginative an interpretation as, say, that of Alan Loveday with Neville Marriner and the Academy of St. Martin in the Fields (Decca). Not that this is any kind of shortcoming, you understand. Indeed, Silverstein’s more direct, more traditional rendition is quite fetching, as I say.

Summer comes off well, too, and seems just as lively in its own way as Spring, perhaps more so. Silverstein’s violin tone is both velvety smooth and expressively animated. By the time he’s into the Presto, he’s worked up quite a head of steam and ends the music in high good spirits.

Autumn sounds rather plan and simple, especially in the beginning. There may be too much of a good thing in simplicity. Nevertheless, the playing sounds so cultured, it grows on you.

Finally, we come to the Winter Concerto, a section that for some soloists and conductors can be a bit vexing. The cold chattering of teeth and the running through the ice and snow require some finesse, which Silverstein and company pull off well. OK, maybe they actually get a little too hectic as they go along, but it is nonetheless quite colorful. The Largo’s “contented days by the fire” Largo are maybe a tad perfunctory, yet the performers make up for any small lapses with the swirling gales of the final movement. Fun stuff.

Drawbacks? Not really. The disc is expensive, to be sure. And there is no content beyond the four concertos, about forty minutes. Think of it as quality over quantity for those who can afford it.

Telarc Records originally made the album in Houghton Chapel, Wellesley College, Wellesley, Massachusetts in 1981. LIM remastered the recording in 2012 using their UltraHD 32-bit mastering system, a meticulious method of transferring material from the master tape to disc. The recording itself is relatively close, providing firm body, strong transient attack, and plenty of detail. What’s more, the chapel acoustic provides a pleasantly realistic glow to the music, a bloom that never detracts from the clarity of the sound; inner detailing, in fact, is now better than ever. More important is that the sound appears well balanced, with no sign of brightness, forwardness, edge, boom, softness, or the like to interfere with its lifelike playback.

Although I’m still partial to hearing The Four Seasons performed by a period-instruments band (putting the recording by the Philharmonia Baroque Orchestra at the head of the list), for a recording on modern instruments (excepting Mr. Silverstein’s violin), this one is as good as it gets, and you couldn’t ask for better sound.

As always, the folks at LIM do up the packaging in a first-rate manner, with a hardcover foldout case containing twenty-four pages of text and pictures bound inside and a stiff paper sleeve for the disc, which is further enclosed in a static-proof inner liner.

To hear a brief excerpt from this album, click here:


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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simpleminded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my cell phone. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.

Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

William (Bill) Heck, Contributing Reviewer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa