ClassicsOnline Home » VIVALDI, A.: 4 Seasons (The) / Mandolin Concerto, RV 425 / Lute Concerto, RV 93 (arr. for piano) (Biegel) > Review List



VIVALDI, A.: 4 Seasons (The) / Mandolin Concerto, RV 425 / Lute Concerto, RV 93 (arr. for piano) (Biegel)

Composer(s):Vivaldi, Antonio
Artist(s) Biegel, Jeffrey, piano
Period(s) Baroque (1600-1750)
Genre Classical Music
Category ConcertosInstrumental
Catalogue 8.570031
Label Naxos
Quality   320kbps
Album Price
 
CD
USD 9.99
 

 
MP3
USD 6.99
 

 


Vivaldi’s The Four Seasons are among the most popular of Baroque concertos and have inspired musicians to perform them in their original form and in many different guises. Following the lead given by J.S. Bach when he transcribed a number of Vivaldi’s other concertos for keyboard, this disc presents a sparkling new version of The Four Seasons for solo piano by Jeffrey Biegel, complemented by equally effective arrangements by Andrew Gentile of two of Vivaldi’s other beloved concertos for mandolin and lute.


   




Review By Giv Cornfield,The New Recordings, Cliffs Classics,June 2009

This sounded like an intriguing novelty, and I approached this stranger—dogwise—warily, but with tail wagging. I’m happy to report that I was immediately won over. Mr. Biegel has it all: his arrangements are tasteful, his grasp of the Vivaldi idiom profound, and all that wedded to a simply stupendous technique. The addition of the two other little concerti rounds out this thoroughly delightful excursion into immediately accessible esoterica. Bravo, bravissimo!




Review By David Denton, Naxos,June 2009

The American pianist, Jeffrey Biegel, has used, as the basis for his transcription, a published piano version by an unknown hand of Vivaldi’s popular violin concertos known as The Four Seasons, though I guess others are in existence. Lovers of keyboard music will find a great deal to enjoy in such a literal view of the original, Biegel avoiding spurious thickening of textures, and keeps within the limited dynamic range that is appropriate. You could never doubt the American pianist’s affection for the music, and throughout he plays in something approaching the style of a harpsichord. What, of course, we do totally miss is the tonal interplay that Vivaldi created between the sound of the soloist and the accompaniment, that solo line here merging

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