Winter Holds on for Just a Little Longer

When I write about music or analyze it in some fashion, the pieces I choose relate to me somehow. The two performances of the piece I have chosen spoke to me because of the weather. It's very rare that an external aspect have an impact on what I choose to analyze. Since the weather has returned to being cold again, I thought it would be interesting to look at two performances of the first movement of Antonio Vivaldi's Concerto No. 4 in f minor, Op. 8, RV 297, "Winter" from The Four Seasons. As with my John Dowland analysis, I propose to use a modified version of Ferrara's eclectic method to compare and contrast the two performances. I will engage each performance separately before comparing them.

Before diving into the analysis of the first performance, the eclectic method calls for an historical analysis of the piece and its composer. The composer of this concerto, Antonio Vivaldi (1678-1741), was playful referred to in his lifetime as "The Red Priest" because of his bright red hair. Like his outward appearance, Vivaldi's music is known for its fiery and playful exuberance, and it was extremely popular in his time probably because of the Vivaldi's passion for composition. Vivaldi brought structured harmony and creative melodies to Baroque music; he is considered as one of the composers who began the evolution of music to the classical style. This is especially evident in harmonic progressions in his best-known concertos like The Four Seasons and in his light-sounding music.

The Four Seasons is Vivaldi's most performed work, and also a favorite piece of Baroque music among intellectuals and the public. Composed in 1723, each season has its own concerto, particular texture, and three movements. "Winter", the last of the four concertos, is in f minor, and features an icy, staccato texture throughout the three movements. Vivaldi is seen as a progressive in terms of program music for these concertos because he based them on anonymous sonnets possibly written by Vivaldi himself. Each line of the sonnet is illuminated in its corresponding concerto moreso than any other program music of the Baroque Period.

The first performance of this piece is the Berlin Philharmonic under the direction of Herbert von Karajan, solo violinist is Anne-Sophie Mutter. This is the first movement (Allegro non molto) from "Winter" by Vivaldi:


The piece is in f minor, but in an extended binary form or an early version of sonata-allegro form. One can hear distinct textures marking two episodes and a cadence at the end of the second episode in the key of E-flat major. After the cadence, Vivaldi plays with the first episode almost like a classical development, eventually retransitioning back to f minor with the second theme. Looking at the sound-in-time, Karajan directs a large string orchestra from the harpsichord with light, snowy melodic and accompanimental figure; gusts of Mutter's violin cut through the expanse in precise bursts. Following that, Mutter's smoother playing announce expanses of chills played by the accompanimental instruments. The piece returns to carefully travelling steps played by the orchestra with Mutter's hopeful yet despairing violin soaring above it. But, even her melody succombs to the tremendous chill of the large ensemble by the end of the piece. Virtual feelings in this performance include: melancholy, plaintiveness, iciness, sparkle, hope, restraint, suffering.

Looking at this piece referentially, take a look at the excerpt sonnet Vivaldi used to program this piece. What is interesting to note is Vivaldi placed corresponding sections of the sonnets he set to music in the score itself. Here is the sonnet for this movement (Italian followed by English translation):

Aggacciato tremar trà neri algenti
Al Severo Spirar d'orrido Vento,
Correr battendo i piedi ogni momento
E pel Soverchio gel batter i denti;

Trembling with cold in the icy snow
In the harsh breath of a horrid wind,
Running, stamping one's feet every moment
and our teeth chattering in the freezing cold.

This text is illuminated brilliantly by Vivaldi; Karajan and Mutter give the listener an interpretation of winter easily heard by the listener. Vivaldi's goal seems primarily to capture winter through music, and he did that. According to Peter Guttmann on classicalnotes.net, Vivaldi's composition is a 'dry schematic' for soundtrack, but still provides an enthralling listen for modern listeners. Mutter and Karajan have the disconnect of two and a half centuries to overcome, but their performance reflects winter to the listener given the orchestration, instruments, and techniques native to the 20th and 21st Centuries.

Here is the second performance. This is a string quartet with basso continuo (bass and harsichord) led by solo violinist Janine Jansen (The movements are out of order in this clip -- Fast forward to 4:48 to hear the 'Allegro non molto' movement).



What I immediately was enthralled with this performance is the depth of expression and the intimacy achieved with having only one player on a part for the concerto. The players have more freedom to stretch tempo, sink into the dynamics and add their own ego to their own part. I think this resonates with the concept of affections in the Baroque: the listener hears the scope of winter rather than just a slice of it as with the previous recording. What I find so exquisite is the bowing in the quartet and basso continuo is clearly audible with this ensemble. It works to the groups advantage phenomenologically and referentially. Now that the harpischord is more present and the listener hears the grating of the bow against the strings, the winter depicted is icy, bitter, harsh, and freezes to the bone. Looking at the sonnet Vivaldi drew from, I can more clearly visualize the "chattering teeth" and feel the "horrid wind" blowing. I get the chills when I listen to this performance, and I did not with the previous performance. It makes me wonder if the composer's intent to have the piece played by a small ensemble is the absolute way to perform The Four Seasons.

After giving both performances a listen again and moving to my meta-critique, I feel that I have only pointed out the obvious similarities and differences with the two performances. If I were to do this assignment again, I would choose two quartet recordings of the movement rather than one of a string orchestra and another of a quartet. I feel through doing this I could develop a more critical ear open to slight differences rather than just looking at the umbrella of the performance. But, even still, I feel if I were to look at quartet against quartet that would be limiting my scope as well.

Now for something completely different and worth your while for reading this performance comparison. This is M. Levickis playing "Allegro non molto" from Concerto No. 4 in f minor "Winter" by Vivaldi on a surprise instrument. Voilà!



References:
classicalnotes.net
oxfordmusiconline.com
classicalmusic.about.com
baroque-music-club.com/vivaldiseasons.html