Akademie für Alte Musik Berlin / Georg Kallweit HANDEL Concerti Grossi Op. 3

CONCERTI GROSSI Op. 3

Akademie für Alte Musik Berlin VIVALDI Doubles Concertos

With more than 500 concertos to choose from, it is easy to select an attractive program of Vivaldi's orchestral music. Indeed, some would argue that with such depth of repertoire, it would be hard not to assemble such a program. But one way or another, one would have to agree that the six works on this 2007 Harmonia Mundi disc make up a singularly attractive program. It opens and closes with two three-movement concerto grossos for string orchestra, and at its center are four enchanting concertos for four different sets of soloists. Each work and each set of soloists is first-rate and the quality of the playing raises even the most familiar work here to new heights. The Akademie für Alte Musik Berlin is a suave-toned, sweet-tempered, supremely virtuosic period-instrument orchestra that has demonstrated its excellence many times before. As led by violinist Georg Kallweit in all but the opening Concerto Grosso in G minor, the Akademie seems born to play Vivaldi. The suppleness of the tempos, the intensity of the intonation, and the fire in the tone ideally suit Vivaldi at his energetic best. It would be hard to pick out a single favorite, but if you want just a sample of what the Akademie can do with Vivaldi, try the penultimate Double Concerto in A minor for two violinists featuring Kallweit and Midori Seiler. The fire in the outer Allegros and the passion in the central Larghetto e spiritoso are simply scorching. Harmonia Mundi's sound is crisp, colorful, and deep. (James Leonard)

Akademie für Alte Musik Berlin GEORGE FRIDERIC HANDEL Water Music

You might think that Handel's Water Music, HWV 348-350, arguably the most familiar piece of Baroque music (the Four Seasons of Vivaldi can give it a run for its money, but its popularity is more recent), has received every possible interpretation. And you would be wrong, as the musicians of the Akademie für Alte Musik Berlin have shown in this Harmonia Mundi release, precisely recorded in Berlin's Teldex studio. You get a steady parade of innovations here, marked overall by, but not in the least restricted to, blisteringly fast tempos that turn the horn-dominated movements into tests of virtuosity. Unexpected dynamic contrasts and the unusual rhythmic treatment of the "Overture" to the Suite No. 1 are other novelties, but this veteran group is not out for shock value. The Akademie für Alte Musik Berlin operate without a conductor, and their coordination in these crisp prestos is worth the price of admission in itself. Their ability to act as one in really unusual shapings of each individual movement is remarkable, and the treacherous horn parts are near perfection in the hands of Erwin Wieringa and Miroslav Rovenský. This is water music for a rather choppy, windy day, perhaps, but it's not really a revisionist reading, just an unusual and distinctive one that has a good deal of warmth in the slow movements. (James Manheim)

Akademie für Alte Musik Berlin REBEL Les Éléments - VIVALDI Le Quattro Stagioni

Harmonia Mundi's Rebel: Elements -- Vivaldi: Four Seasons combines two of the Baroque's biggest instrumental barnburners as performed by one of the top period instrument groups in Europe, Akademie für Alte Musik, Berlin, under the leadership of concertmasters  and featuring their star attraction, violinist Midori Seiler. Like Vivaldi's often derided as over-familiar Four Seasons, Jean-Féry Rebel's 1737 ballet Les Éléments does not want for good recordings, but it is nowhere near as famous as the Vivaldi; this is the first time the two have been combined on a recording, and these pieces are quite compatible given their shared, programmatic purposes. Inasmuch as the Akademie für Alte Musik, Berlin is concerned, these recordings reflect a staged performance of the two works as prepared for a festival in Italy in the fall of 2009 in collaboration with choreographer Juan Kruz Diaz de Garaio Esnaola. Some might find that the staging of instrumental -- or at least non-dramatic -- classics borders on the faddish. Nevertheless, one of the best recordings ever made of Bach's B minor Mass -- that led by Thomas Hengelbrock for DHM in 1997 -- was based on a similar instance where the work was presented as a show rather than a "straight" public performance of Bach's never-intended-as-liturgical choral masterpiece. For a musical text like Les Éléments, of which the content is something of a matter of debate given the incomplete form in which it has come down to us, Akademie für Alte Musik, Berlin's interpretation is remarkably fluid and evolutionary in keeping with Rebel's intentions of moving from Chaos through Creation. The performance evolves in a very patient and low-key way, from the crashing seven-note tone cluster that opens the work to the spring-like evocation of its final dances, and one can feel the sense of unfolding even down to the relative volume of the piece as it progresses through its various movements. This might not instantly become everyone's favorite recording of Vivaldi's Four Seasons, as it is meant to go with a performance and is tailored to fit to that; those familiar with the usual delivery of these four concerti might find this recording somewhat enigmatic and lacking in the usual fireworks. Nevertheless, it is an altogether original, daring, and completely valid reinterpretation of the piece; restrained, mysterious, and dramatically compelled, employing vibrant and occasionally violent contrasts. Seiler's interpretation of the solo violin in part is completely her own; in places where others linger, Seiler stabs through the passage like Hamlet stabbing Polonius through the curtain, whereas in passages that some violinists might perform on autopilot, Seiler finds a spot to indulge in an expressive figure or an ornament wholly unfamiliar, even to the seasoned Four Seasons listener. Listeners well-attuned to the established story arc of the Four Seasons may well dismiss this as perverse; difference for the sake of being different. Perhaps one might not want to make this the only version of the Four Seasons to own. Nevertheless, enjoying the album as a whole -- both the Rebel and Vivaldi taken together -- is the recommended option; it is very fast moving and interesting in addition to being edgy and assertively exceptional. The DVD of Akademie für Alte Musik, Berlin's performance with Esnaola would probably be the best way to experience this radical and enterprising concept; nevertheless, Harmonia Mundi's CD is a riveting and revelatory experience that commends itself to listeners welcoming a second opinion on the Four Seasons and as an introduction to Les Éléments, a work that easily could withstand exposure beyond those expert in Baroque literature. (Uncle Dave Lewis)