If listeners had to commit to a single version of Vivaldi's Four Seasons for the rest of their lives, this 1984 BIS recording would be thoroughly satisfying choice. Superbly played, brilliantly recorded period instrument performances of this perennial masterpiece are all but a dime a dozen, and the differences between Hogwood's and Pinnock's and Harnoncourt's readings don't begin to make up for the fatal boredom of their performances. This version with Nils-Erik Sparf and the Drottningholm Court Baroque Ensemble would be an ideal choice because theirs is the freshest performance of the piece. Beyond their excellent technique and impeccable sense of style, Sparf and the Swedish musicians bring joy and enthusiasm to the music, and sound like they are in turn receiving happiness and energy from the music. There's real pleasure here, and real affection, as if the concertos were newly composed and these were their world premieres. Filled out with witty accounts of Vivaldi's F major Concerto for Bassoon and his G minor Concerto for Flute and Bassoon, this disc is a delight.
Karajan could be so expressive, with the big sound of the Berlin Philharmonic, in Vivaldi's very famous Magnum Opus. Solo violinist Michel Schwalbe is also terrific, quiet and bold alternately, as needed.
"After hearing I Musici perform, Arturo Toscanini remarked, "Twelve individual instrumental masters, and together the finest chamber orchestra in the world." This Italian ensemble has long attracted international attention for their emphasis on brilliance, strength of attack, and high level of discipline, beginning with their first performances of seventeenth and eighteenth century Italian music. (…) I Musici over the years has constantly built upon its strengths, and the group members to apply the same dedication to their artistry as they did upon formation. Their performances can be heard on over 45 recordings, almost all under the Philips label."
Admirers of Kyung-Wha Chung will hardly mind the poor value in time-length (Kennedy, also on EMI, does not have a coupling, either), when it so winningly adds to Chung’s discography. It is the more welcome when, since her switch from Decca to EMI, new recordings from her have been all too few. This is an unashamedly traditional performance, one which has little or no regard for period practice, but gives us a sequence of four concertos in warmly relaxed readings. Unlike those of Kennedy and Mutter they avoid extreme speeds, either fast or slow.