Four Seasons Classical

For the similarly titled work by Antonio Vivaldi, see The Four Seasons (Vivaldi).
Die Jahreszeiten
The Seasons
Oratorio by Joseph Haydn
Title page of the first edition. Translated it reads, 'The Seasons / after Thomson, / set to music by / Joseph Haydn. / Score. // Original edition. / [published by] Breitkopf & Härtel, Leipzig
CatalogueHob. XXI:3
TextGottfried van Swieten
LanguageGerman
Based on'The Seasons'
by James Thomson
Performed24 April 1801: Vienna
Published1802
Scoring

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The Seasons (German: Die Jahreszeiten, Hob. XXI:3) is a secular oratorio by Joseph Haydn, first performed in 1801.

History[edit]

Haydn was led to write The Seasons by the great success of his previous oratorio The Creation (1798), which had become very popular and was in the course of being performed all over Europe.

Libretto[edit]

The libretto for The Seasons was prepared for Haydn, just as with The Creation, by Baron Gottfried van Swieten, an Austrian nobleman who had also exercised an important influence on the career of Mozart (among other things commissioning Mozart's reorchestration of Handel's Messiah).[1] Van Swieten's libretto was based on extracts from the long English poem 'The Seasons' by James Thomson (1700–1748), which had been published in 1730.

Whereas in The Creation Swieten was able to limit himself to rendering an existing (anonymous) libretto into German, for The Seasons he had a much more demanding task. Olleson writes, 'Even when Thomson's images were retained, they required abbreviation and adaptation to such an extent that usually no more than faint echoes of them can be discerned, and the libretto often loses all touch with the poem which was its starting point. Increasingly during the course of the oratorio, the words are essentially van Swieten's own or even imported from foreign sources.'[2]

Like The Creation, The Seasons was intended as a bilingual work. Since Haydn was very popular in England (particularly following his visits there in 1791–1792 and 1794–1795), he wished the work to be performable in English as well as German. Van Swieten therefore made a translation of his libretto back into English, fitting it to the rhythm of the music. Olleson notes that it is 'fairly rare' that the translated version actually matches the Thomson original.[3] Van Swieten's command of English was not perfect, and the English text he created has not always proven satisfying to listeners; for example, one critic writes, 'Clinging to [the] retranslation, however, is the heavy-handed imagery of Haydn's sincere, if officious, patron. Gone is the bloom of Thomson's original.'[4] Olleson calls the English text 'often grotesque', and suggests that English-speaking choruses should perform the work in German: 'The Seasons is better served by the decent obscurity of a foreign language than by the English of the first version.'[5] Van Swieten's words also show some inconsistency in tone, ranging from the rustically humorous (for instance, a movement depicting a wily peasant girl playing a trick on her rich suitor) to the uplifting (as in several large-scale choruses praising God for the beauty of nature).[6]

Composition, premiere, and publication[edit]

The composition process was arduous for Haydn, in part because his health was gradually failing and partly because Haydn found van Swieten's libretto to be rather taxing. Haydn took two years to complete the work.

Like The Creation, The Seasons had a dual premiere, first for the aristocracy whose members had financed the work (Schwarzenberg palace, Vienna, 24 April 1801), then for the public (Redoutensaal, Vienna, 19 May).[7] The oratorio was considered a clear success, but not a success comparable to that of The Creation. In the years that followed, Haydn continued to lead oratorio performances for charitable causes, but it was usually The Creation that he led, not The Seasons.

The aging Haydn lacked the energy needed to repeat the labor of self-publication that he had undertaken for The Creation and instead assigned the new oratorio to his regular publisher at that time, Breitkopf & Härtel, who published it in 1802.[8]

Forces[edit]

The Seasons is written for a fairly large late-Classical orchestra, a chorus singing mostly in four parts, and three vocal soloists, representing archetypal country folk: Simon (bass), Lucas (tenor), and Hanne (soprano). The solo voices are thus the same three as in The Creation.

The orchestral parts are for 2 flutes (1st doubling on piccolo in one aria), 2 oboes, 2 clarinets, 2 bassoons and contrabassoon, 4 horns, 3 trumpets, 1 alto trombone, 1 tenor trombone and 1 bass trombone, timpani, percussion, and strings.

However, some of the key early performances at the Tonkünstler Society in Vienna were for much larger forces (as was the fashion at the time); Haydn led performances for both large and small ensembles. Material surviving from these large-scale Viennese performances indicates the use of tripled wind (arranged into three separate groups, each one similar to the Harmonie wind ensembles of the time), doubled brass and as many as ten horn players, backed up by at least eighty string players and similar numbers of singers.[9]

In addition, a fortepiano usually plays in secco recitatives, with or without other instruments from the orchestra.

Musical content[edit]

The oratorio is divided into four parts, corresponding to Spring, Summer, Autumn, and Winter, with the usual recitatives, arias, choruses, and ensemble numbers.

Among the more rousing choruses are a hunting song with horn calls, a wine celebration with dancing peasants[10] (foreshadowing the third movement of Beethoven'sPastoral Symphony), a loud thunderstorm (ditto for Beethoven's fourth movement), and an absurdly stirring ode to toil:

Classical
The huts that shelter us,
The wool that covers us,
The food that nourishes us,
All is thy grant, thy gift,
O noble toil.

Haydn remarked that while he had been industrious his whole life, this was the first occasion he had ever been asked to write a chorus in praise of industry.

Some especially lyrical passages are the choral prayer for a bountiful harvest, 'Sei nun gnädig, milder Himmel' (Be thou gracious, O kind heaven), the gentle nightfall that follows the storm, and Hanne's cavatina on Winter.

The work is filled with the 'tone-painting' that also characterized The Creation: a plowman whistles as he works (in fact, he whistles the well-known theme from Haydn's own Surprise Symphony), a bird shot by a hunter falls from the sky, there is a sunrise (evoking the one in The Creation), and so on.

The 'French trash' episode[edit]

There is some evidence that Haydn himself was not happy with van Swieten's libretto, or at least one particular aspect of tone-painting it required, namely the portrayal of the croaking of frogs, which is found during the serene movement that concludes Part II, 'Summer'. The version of the anecdote given below is from the work of Haydn scholar H. C. Robbins Landon.

In 1801, August Eberhard Müller (1767–1817) prepared a piano version of the oratorio's orchestra part, for purposes of rehearsal and informal performance. Haydn, whose health was in decline, did not take on this task himself, but he did look over a draft of Müller's work and wrote some suggested changes in the margins. Amid these changes appeared an off-the-cuff complaint about van Swieten's libretto:

NB! This whole passage, with its imitation of the frogs, was not my idea: I was forced to write this Frenchified trash. This wretched idea disappears rather soon when the whole orchestra is playing, but it simply cannot be included in the pianoforte reduction.[11]

Robbins Landon continues the story as follows:

Müller foolishly showed the passage in the enclosed sheet, quoted above, to the editor of the Zeitung für die elegante Welt,[12] who promptly included it in support of his criticism of Swieten's wretched[13] libretto. Swieten was enraged, and [Haydn's friend] Griesinger reported that His Excellency 'intends to rub into Haydn's skin, with salt and pepper, the assertion that he [Haydn] was forced into composing the croaking frogs.'[14]

A later letter of Griesinger's indicates that the rift thus created was not permanent.

The term 'Frenchified trash' was almost certainly not a gesture of contempt for France or French people; Haydn in fact had friendly relationships with French musicians (see, e.g. Paris symphonies). Rather, Haydn was probably referring to an earlier attempt by van Swieten to persuade him to set the croaking of the frogs by showing him a work by the French composer André Grétry that likewise included frog-croaking.[15]

Critical reception[edit]

Although the work has always attracted far less attention than The Creation, it nonetheless has been strongly appreciated by critics. Charles Rosen calls both oratorios 'among the greatest works of the century', but judges The Seasons to be the musically more successful of the two.[16]Daniel Heartz, writing near the end of a massive three-volume account of the Classical era, writes 'The Hunting and Drinking choruses first led me to study Haydn's music more extensively beginning some forty years ago .. no music has elated me more in old age than The Seasons.'[17]Michael Steinberg writes that the work 'ensure[s] Haydn's premiere place with Titian, Michelangelo and Turner, Mann and Goethe, Verdi and Stravinsky, as one of the rare artists to whom old age brings the gift of ever bolder invention.'[18] Opinions vary as to the nature of the relationship between The Creation and The Seasons – whether they are two separate works or an enormous religious diptych. Van Swieten, at any rate, was certainly keen to follow up on the former's success with another large-scale pictorial work in a similar vein,[19] and some authors have seen the two oratorios as constituting the first and second act of a metaphorical 'vast sacred opera'.[20]

Notes[edit]

Four seasons furniture
  1. ^Richard Drakeford, notes to Philips recording 464 035-2 (1999).
  2. ^Olleson (2009:357)
  3. ^Olleson (2009:357)
  4. ^Bernard Holland, writing in the New York Times, January 23, 1988.
  5. ^Olleson (2009:357)
  6. ^Drakeford (1999).
  7. ^Clark (2005:xvi)
  8. ^Jones (2009:25)
  9. ^Paul McCreesh, in notes to Signum Records CD SIGCD480, Haydn: The Seasons (2017).
  10. ^This chorus ('Juhe, der Wein ist da', 'Huzzah, the wine is there') contains the so-called 'drunk fugue', described by Humphreys as 'a riotous fugal chorus in which the voices drop the subject halfway through the entries (as in a drunken stupor) while the accompanying instruments are left to complete it.' (Humphreys 2009: 111)
  11. ^Cited from Robbins Landon (1959, 197)
  12. ^German: 'Journal for the elegant world'
  13. ^It is not clear whether this is Robbins Landon's opinion or the journal editor's.
  14. ^Robbins Landon (1959, 197)
  15. ^Dies (1810, 187)
  16. ^Rosen (1971, 370)
  17. ^Heartz (2009:644 fn.)
  18. ^Steinberg's words appeared originally in program notes; they are quoted here from Heartz (2009:644)
  19. ^Karl Schumann, notes to Philips recording 464 034-2 (1999).
  20. ^Marc Vignal, notes to Philips recording 464 034-2 (1999).

References[edit]

  • Clark, Caryl (2005) The Cambridge Companion to Haydn. Cambridge: Cambridge University Press.
  • Dies, Albert Christoph (1810) Biographical Accounts of Joseph Haydn, Vienna. English translation by Vernon Gotwals, in Haydn: Two Contemporary Portraits, Milwaukee: University of Wisconsin Press.
  • Heartz, Daniel (2009) Mozart, Haydn, and Early Beethoven: 1781-1802. New York: Norton.
  • Humphreys, David (2009) 'Fugue,' article in David Wyn Jones, ed., Oxford Composer Companions: Haydn. Oxford: Oxford University Press.
  • Jones, David Wyn (2009) 'Breitkopf & Härtel,' article in David Wyn Jones, ed., Oxford Composer Companions: Haydn. Oxford: Oxford University Press.
  • Olleson, Edward (2009) 'Seasons, The', article in David Wyn Jones, ed., Oxford Composer Companions: Haydn. Oxford: Oxford University Press.
  • Robbins Landon, H. C. (1959) The Collected Correspondence and London Notebooks of Joseph Haydn. London: Barrie and Rockliff.
  • Rosen, Charles (1971) The Classical Style. New York: Norton.

External links[edit]

  • Haydn: The Seasons - complete recording from the Internet_Archive
  • German libretto.
  • English translation.
Retrieved from 'https://en.wikipedia.org/w/index.php?title=The_Seasons_(Haydn)&oldid=990605787'

The Four Seasons

The Four Seasons (Italian: Le quattro stagioni) is a set of four violin concertos by Antonio Vivaldi. Composed in 1725, The Four Seasons is Vivaldi’s best-known work, and is among the most popular pieces in the classical music repertoire. The texture of each concerto is varied, each resembling its respective season. For example, “Winter” is peppered with silvery pizzicato notes from the high strings, calling to mind icy rain, whereas “Summer” evokes a thunderstorm in its final movement, which is why the movement is often called “Storm” (as noted in the list of derivative works).

The concertos were first published in 1725 as part of a set of twelve concerti, Vivaldi’s Op. 8, entitled Il cimento dell’armonia e dell’inventione (The Contest Between Harmony and Invention). Vivaldi dedicated their publication to a Bohemian patron, Count Václav Morzin (of Vrchlabí 1676–1737), and in so mentioned the count’s longstanding regard for these four, in particular (which had apparently been performed with the nobleman’s orchestra, in Prague’s Morzin Palace)—although his dedication may have been closely related to the completion of an Augustinian monastery that year, where Vivaldi, a priest himself, refers to Morzin, the church’s dedicator, as “Chamberlain and Counsellor to His Majesty, the Catholic Emperor”—while (as Maestro di Musica in Italy) Vivaldi presents them anew, with sonnets or enhancements for clear interpretation. The first four concertos are designated Le quattro stagioni, each being named after a season. Each one is in three movements, with a slow movement between two faster ones (and these movements likewise vary in tempo amid the seasons as a whole). At the time of writing The Four Seasons, the modern solo form of the concerto had not yet been defined (typically a solo instrument and accompanying orchestra)[citation needed]. Vivaldi’s original arrangement for solo violin with string quartet and basso continuo helped to define the form of the concerto.

List of concertos and movements

  1. Concerto No. 1 in E major, Op. 8, RV 269, “La primavera” (Spring)
    1. Allegro
    2. Largo e pianissimo sempre
    3. Allegro pastorale
  2. Concerto No. 2 in G minor, Op. 8, RV 315, “L’estate” (Summer)
    1. Allegro non molto
    2. Adagio e piano – Presto e forte
    3. Presto
  3. Concerto No. 3 in F major, Op. 8, RV 293, “L’autunno” (Autumn)
    1. Allegro
    2. Adagio molto
    3. Allegro
  4. Concerto No. 4 in F minor, Op. 8, RV 297, “L’inverno” (Winter)
    1. Allegro non molto
    2. Largo
    3. Allegro

Sonnets and allusions

There is some debate as to whether the four concertos were written to accompany four sonnets or vice versa. Though it is not known who wrote these sonnets, there is a theory that Vivaldi wrote them himself, given that each sonnet is broken down into three sections, neatly corresponding to a movement in the concerto. Whoever wrote the sonnets, The Four Seasons may be classified as program music, instrumental music that intends to evoke something extra-musical and an art form which Vivaldi was determined to prove sophisticated enough to be taken seriously.

In addition to these sonnets, Vivaldi provided instructions such as “The barking dog” (in the second movement of “Spring”), “Languor caused by the heat” (in the first movement of “Summer”), and “the drunkards have fallen asleep” (in the second movement of “Autumn”). The Four Seasons is used in the 1981 film The Four Seasons along with other Vivaldi concertos for flute.

Hear the Music

Use the link below to listen to recordings of the Four Seasons:
http://en.wikipedia.org/wiki/The_Four_Seasons_(Vivaldi)#Recordings

Recordings

The first recording of The Four Seasons is a matter of some dispute. There is a compact disc of one made by the violinist Alfredo Campoli which is taken from acetates of a French radio broadcast; these are thought to date from early in 1939. The first proper electrical recording was made in 1942 by Bernardino Molinari, and though his adaptation is somewhat different from what we have come to expect from modern performances, it is clearly recognisable. This first recording by Molinari was made for Cetra, issued in Italy and subsequently in the United States on six double-sided 78s in the 1940s. It was then reissued on long-playing album in 1950, and was once again reissued on compact disc.

Not surprisingly, further recordings followed. The next was in 1948 by the violinist Louis Kaufman, mistakenly credited as the ‘first’ recording, made during the night in New York using ‘dead’ studio time and under pressure from a forthcoming musicians strike.[citation needed] The performers were The Concert Hall Chamber Orchestra under Henry Swoboda, Edith Weiss-Mann (harpsichord) and Edouard Nies-Berger (organ). This recording helped the re-popularisation of Vivaldi’s music in the mainstream repertoire of Europe and America following on the work done by Molinari and others in Italy. It won the French Grand Prix du Disque in 1950, was elected to the Grammy Hall of Fame in 2002, and in 2003 was selected for the National Recording Registry in the Library of Congress. Kaufman, intrigued to learn that the four concertos were in fact part of a set of twelve, set about finding a full score and eventually recorded the other eight concertos in Zürich in 1950, making his the first recording of Vivaldi’s complete Op. 8.

I Musici followed in 1955 with the first of several recordings of The Four Seasons with different soloists. The 1955 set with Felix Ayo was that ensemble’s first recording of any music; subsequent I Musici recordings feature Felix Ayo again in 1959, Roberto Michelucci in 1969, Pina Carmirelli in 1982, Federico Agostini in 1990, and Mariana Sîrbu in 1995. The 1969 recording by the Academy of St. Martin-in-the-Fields conducted by Neville Marriner, featuring soloist Alan Loveday, reputedly moved the piece from the realm of esoterica to that of program and popular staple.

Nigel Kennedy’s 1989 recording of The Four Seasons with the English Chamber Orchestra sold over two million copies, becoming one of the best-selling classical works ever.[11]Gil Shaham and the Orpheus Chamber Orchestra recorded The Four Seasons as well as a music video for the first movement of “Winter” that was featured regularly on The Weather Channel in the mid-1990s.

The World’s Encyclopedia of Recorded Music in 1952 cites only two recordings of The Four Seasons – by Molinari and Kaufman. By 2011 approximately 1,000 different recorded versions have been made since Campoli’s in 1939.[citation needed]

Commensurably, it has become an aspect of these recordings for classical musicians to distinguish their version of The Four Seasons from others’, with historically informed performances, and embellishments, to the point of varying the instruments and tempi, or playing notes differently from the listener’s expectation (whether specified by the composer or not). It is said that Vivaldi’s work presents such opportunities for improvisation.

Derivative works

Derivative works of these concerti include arrangements, transcriptions, covers, remixes, samples, and parodies in music—themes in theater and opera, soundtracks in films (or video games), and choreography in ballet (along with contemporary dance, figure skating, rhythmic gymnastics, synchronized swimming, etc.)—either in their entirety, single movements, or medleys. Antonio Vivaldi appears to have started this trend of adapting music from The Four Seasons, and since then it has expanded into many aspects of the performing arts (as have other instrumental & vocal works by the composer). This contest between harmony and invention (as it were) now involves various genres around the world:

1726 (or 1734)

  • Vivaldi re-scored his Spring allegro, both as the opening sinfonia (third movement), and chorus (adding lyrics) for his opera Dorilla in Tempe.

1739

  • Nicolas Chédeville (France) arranged Vivaldi’s four seasons (as “Le printems, ou Les saisons amusantes”), for hurdy-gurdy or musette, violin, flute, and continuo.

1765

  • The French composer Michel Corrette composed and published a choral motet, Laudate Dominum de Coelis, subtitled “Motet à Grand Chœur arrangé dans le Concerto de Printemps de Vivaldi”. The work, for choir and orchestra, consists of the words of Psalm 116 set to the music from Vivaldi’s Spring movement with vocal soloists singing the solo concerto parts.

1808

Vivaldi Four Seasons Classical Guitar

  • Beethoven’s Pastoral Symphony contains many of the same themes, including drunken peasants and a storm. Beethoven had acquired a solid grounding in baroque music from his teacher Albrechtsberger.

1969

  • The Swingle Singers (France) recorded an album (The Joy of Singing) based on Vivaldi’s work (and other composers’).

1970

  • Ástor Piazzolla (Argentina) published Estaciones Porteñas, “The Four Seasons of Buenos Aires”, and these have been included in “eight seasons” performances, along with Vivaldi’s work, by various artists.

1972

  • Moe Koffman (Canada) recorded a jazz album of Vivaldi’s four seasons.

1976

  • The New Koto Ensemble (Japan) recorded Vivaldi’s 4 seasons, on their koto instruments.

1978

  • Michael Franks (America) composed a vocal serenade based on the theme of Vivaldi’s summer concerto (adagio). ] This was subsequently covered by WoongSan (Korea) in 2010.

1982

  • Patrick Gleeson (America) recorded a “computer realization” of Vivaldi’s four seasons.
Four seasons classical music

1984

  • Thomas Wilbrandt (Germany) composed and recorded “The Electric V” (later adapted for film), which interprets Vivaldi’s work with ambient electronics, vocals, and samples of the original concerti.
  • Roland Petit (France) choreographed a ballet (entitled “Les Quatre Saisons”) to an I Musici performance of Vivaldi’s work.

1987

  • Ben Shedd (America) produced a scenic tour of nature with Vivald’s four seasons (narrated by William Shatner).

1993

  • Jean-Pierre Rampal (France) recorded arrangements of Vivaldi’s four seasons for flute[20] (also recorded by Jadwiga Kotnowska).

1995

  • Arnie Roth (America) recorded “The Four Seasons Suite”, including sonnets (recited by Patrick Stewart). This may or may not be considered a derivative work, depending on whether Vivaldi’s translated sonnets were meant to be narrated with the music (versus being read in Italiano, or silently by the audience).

1997

  • The Baronics (Canada) recorded surf guitar versions of the violin concertos in Vivaldi’s four seasons (one movement from each).
  • French musician Jacques Loussier composed and recorded, with his trio, jazz-swing interpretations of the Four Seasons.

1998

Four Seasons Classical Music Vivaldi

  • The Great Kat (England/America) recorded a shred guitar (and violin) version of Vivaldi’s summer presto.
  • Vanessa-Mae (Singapore/Britain) recorded her crossover version of Vivaldi’s summer presto, for electric violin.
Four Seasons Classical

Seasons Classical Music

1999

  • The Chinese Baroque Players recorded arrangements of Vivaldi’s four seasons for traditional Chinese instruments.
  • Petrova & Tikhonov (Russia) performed their long program to a medley of Vivaldi’s seasons to win the European Figure Skating Championships.

2000

  • Venice Harp Quartet (Italy) recorded arrangements of Vivaldi’s four seasons for harp ensemble.
  • es:Gustavo Montesano (Argentina) recorded a tango guitar version of the spring allegro, with the Royal Philharmonic Orchestra.
  • Jochen Brusch (Germany) & Sven-Ingvart Mikkelsen (Denmark) recorded arrangements of Vivaldi’s 4 seasons for violin and organ.
Song

2001

  • Bond (Australia/Britain) recorded two singles based on Vivaldi’s winter, with electric strings (violin, cello, viola), vocals, and electronic beats. They similarly interpreted a movement from each season for Peugeot car advertisements (2009).
  • de:Ferhan & Ferzan Önder (Turkish twin sisters) recorded a transcription of the Four Seasons for two pianos by Antun Tomislav Šaban.
  • BanYa (South Korea) recorded a dance version of Vivaldi’s winter for the Pump it Up video game.
  • Susan Osborn (America) recorded a new age vocal serenade based on Vivaldi’s winter largo.
  • The Charades (Finland) recorded Vivaldi’s presto as “Summer Twist”, for surf guitar ensemble.

2003

  • Red Priest (UK) recorded arrangements of Vivaldi’s 4 seasons for recorder.
  • Hayley Westenra (New Zealand) adapted the musical piece called “Winter” into a song titled “River of Dreams” which is sung in English. It was recorded for her Pure album in July 10th.

2004

  • Tafelmusik (Canada) arranged a cross-cultural arts special based on Vivaldi’s four seasons, involving a Chinese pipa, Indian sarangi and Inuit throat-singing.

2005
Dark Moor (Spain) recorded an electric guitar version of Vivaldi’s winter (allegro non molto), and this was later integrated into the Finnish video game Frets on Fire.

2006

  • Juliette Pochin (Wales) volumed an operatic suite of sonnets to Vivaldi’s four seasons on her debut album.
  • Accentus chamber choir (France) recorded a choral version of Vivaldi’s concerto for winter (complete).
  • Stéphane Lambiel (Switzerland) performed his long program to a medley of Vivaldi’s seasons to win the World Figure Skating Championships.

2007

  • Celtic Woman (Ireland) recorded the winter largo with vocals (Italian lyrics). The youngest former member Chloë Agnew originally recorded it for her Walking in the Air album which was released in 2002.
  • PercaDu (Israel) performed an arrangement of Vivaldi’s winter (allegro non molto), for marimbas with chamber orchestra.
  • Mauro Bigonzetti (Italy) choreographed a ballet of Vivaldi’s “Les quatre saisons” for a French-Canadian dance company.
  • Tim Slade (Australia) directed a documentary (entitled “4”) of four classical violinists and their homelands (in Tokyo, Thursday Island, New York, and Lapland), as they relate to Vivaldi’s four seasons.

2008

  • Sveceny & Dvorak (Czech Republic) produced both an album and stage production of world music based on Vivaldi’s four seasons.
  • Yves Custeau (Canada) recorded a rock & roll “one man band” version of the spring allegro.
  • Daisy Jopling (England/America) recorded a violin & hip-hop version of Vivaldi’s winter (allegro non molto), and also performs it reggae style.
  • Innesa Tymochko (Ukrain) performed her crossover version of Vivaldi’s summer presto, for violin.
  • Wez Bolton (Isle of Man) recorded a cover version of Vivaldi’s winter (allegro non molto), based on the Japanese video game “Beatmania” remix.
  • Patrick Chan (Canada) performed his long program to a medley of Vivaldi’s seasons to win the Canadian Figure Skating Championships.

2009

  • Absynth Against Anguish (Romania) produced an electronic (trance) version of Vivaldi’s four seasons.
  • Riccardo Arrighini (Italy) recorded Vivaldi’s four seasons for solo piano, in the style of jazz.
  • fr:Christophe Monniot recorded ambient jazz interpretations of Vivaldi’s four seasons.
  • Christian Blind (France) recorded a surf-guitar/acid-rock version of Vivaldi’s spring allegro.

2010

  • Art Color Ballet (Poland) performed their “4 elements” show to Vivaldi’s summer presto, arranged by pl:Hadrian Filip Tabęcki (Kameleon).
  • David Garrett (Germany) recorded a crossover version of Vivaldi’s winter (allegro non molto), combining classical violin with modern rock music.

2011

Steamtrades

  • Black Smith (Russia) performed Vivaldi’s summer presto in the style of thrash metal music (likewise, this movement has been covered numerous times by aspiring electric guitar virtuosos, and other crossover musicians).
  • Angels (Greece) performed their crossover version of Vivaldi’s summer presto, for electric strings.
  • Szentpeteri Csilla (Hungary) performed her crossover version of Vivaldi’s summer presto, for piano.
  • Leonel Valbom (Portugal) remixed Vivaldi’s summer presto with VST Synths.
  • Tim Kliphuis (Netherlands) performed Vivaldi’s spring allegro, as a crossover of world music styles.

2012

  • German-born British composer Max Richter created a postmodern and minimalist recomposition released as “Recomposed Vivaldi – The Four Seasons”. Working with solo violinist Daniel Hope, Richter discarded around 75% of the original source material while the running time was reduced to 44 minutes playing time.
  • Aura (Japan) recorded an a cappella arrangement of Vivaldi’s four seasons, and had also performed Vivaldi’s Spring chorus (from Dorilla in Tempe) on a prior album.
    Sinfonity (Spain) performed Vivaldi’s four seasons for “electric guitar orchestra”.
  • Bachod Chirmof (America) produced a MIDI recording & animation of Vivaldi’s winter (movements I & III).
  • Tornado Classic (Russia) performed Vivaldi’s summer presto, with electric guitar and slap bass.
  • The symphonic rock band Trans-Siberian Orchestra used a portion of the first movement of the Winter Concerto in their song “Dreams of Fireflies (On A Christmas Night)” on their Dreams of Fireflies EP. The song also uses a portion of Mozart’s “Der Hölle Rache kocht in meinem Herzen,” which it had used previously.

2013

  • Richard Galliano (France) recorded Vivaldi’s 4 seasons concertos for accordion, as well as a few of his opera arias on the instrument.
  • Vito Paternoster (Italy) recorded Vivaldi’s Le quattro stagioni in the form of sonatas for cello.
  • Periodic (Germany) produced a megamix of Vivaldi’s four seasons, which incorporates electronica with samples of the classical version.
  • Steven Buchanan (America) produced a tetralogy of “midseasons” (slow movements and corresponding sonnets) from Vivaldi’s program music.

2014

  • Si Hayden (England) recorded a solo acoustic guitar improvisation of each movement in Vivaldi’s four seasons, playing by ear.