Vivaldi: The Four Seasons Forma Antiqva & Aarón Zapico

Album info

Album-Release:
2012

HRA-Release:
29.03.2012

Label: Winter & Winter

Genre: Classical

Subgenre: Modern Composition

Artist: Forma Antiqva & Aarón Zapico, Theo Bleckmann, Uri Caine

Composer: Antonio Vivaldi (1678-1741)

Album including Album cover

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  • Concertos (4) for Violin, Op. 8 no 1-4 (Four seasons)
  • 1Spring04:20
  • 2Allegro03:29
  • 3Largo E Pianissimo02:41
  • Concerto for Violin in G minor, Op. 8 no 2/RV 315 (L'estate)
  • 4Allegro03:37
  • 5Summer02:55
  • 6Allegro Mà Non Molto05:17
  • 7Adagio01:41
  • Concerto for Violin in F major, Op. 8 no 3/RV 293 (L'autunno)
  • 8Presto02:36
  • 9Autumn02:55
  • 10Allegro05:22
  • 11Adagio Molto01:57
  • Concerto for Violin in E major, Op. 8 no 1/RV 269 (Primavera)
  • 12Allegro03:09
  • 13Winter04:13
  • 14Allegro non molto03:19
  • 15Largo02:03
  • 16Allegro03:23
  • Total Runtime52:57

Info for Vivaldi: The Four Seasons

Bis in extreme Lautmalerei hinein gesteigerter Barock-Klang verbindet sich auf der bei der Edition Winter & Winter erschienenen Vivaldi-Album mit jazz-orientierter Gegenwartsmusik. Das beeindruckende Gesamtkunstwerk ist dabei alles andere als ein substanzloses Ineinanderfließen unterschiedlicher Stilepochen. Denn das den „jungenWilden“ der Barockszene zuzuordnende Ensemble „Forma Antiqva“ spielt Antonio Vivaldis (1678–1741) „Vier Jahreszeiten“ in einer aufregend neuen, aber werkgetreuen Interpretation. Dieser ist allerdings vor jeder Jahreszeit je ein Stück der Jazzmusiker Uri Caine (piano) und Theo Bleckmann (vocals) hinzugefügt. Es handelt sich dabei um kongeniale und überaus erfindungsreiche Vertonungen von Vivaldis Sonetten, in denen dieser Kurzgeschichten vom Wandel in den vier Jahreszeiten aufgeschrieben hatte.

Labelchef Stefan Winter hat die Arbeiten daran in Auftrag gegeben und selbstverständlich für einemusikalisch, klanglich und von der Ausstattung her außergewöhnliche CD-Produktion gesorgt. Dazu gehört sogar eine neue Übersetzung der Vivaldi-Sonette ins Englische. Herausgekommen ist ein großartiges Hörerlebnis, das wie ein LeuchtturmimMeer der Vier- Jahreszeiten-Aufnahmen steht. Die neuen Stücke passen sich dabei dem Duktus der Lautmalerei in Vivaldis „Jahreszeiten“ durchaus an. Verfremdeter Gesang, elektronische Klangwellen, perlende Pianoläufe und eiskalt wirkende Geräusche lassen den Charakter von Frühling, Sommer, Herbst und Winter prägnant hervortreten. Umso intensiver kann der Zuhörer anschließend die Tonsprache des Barock empfinden und genießen.

„Das in Spanien beheimatete Ensemble Forma Antiqva um den Cembalisten Aarón Zapico verwendet Originalinstrumente aus der Zeit Vivaldis und kommt dadurch einer sehr „authentischen“ Interpretation der »Four Seasons« … und dem damals hörbaren Klangbild nahe. Die „modernen“ Zwischenspiele von Caine und Bleckmann mit Klavier, Electronics und Stimme bilden dazu einen rezivollen Kontrast und reichern das hochemotionale Werk durch ihre Sounds noch zusätzlich an. Ausreichend Grund, über den Tellerrand zu blicken und Vivaldi, Forma Antiqva, Hevia, Caine und Bleckmann auf neue Art zu hören.“ (Concerto N° 1, 2012)

„Man muss sich einhören in diesen Klangkosmos, der viel Kontrast bietet zwischen dem barocken Ausgangsmaterial und den modernen Reflexionen. Aber auch dazu verlockt, auf historischen Instrumenten Dargebotenes plötzlich neu zu hören. Dafür sorgen die auf vorderster Stuhlkante spielenden Musiker der Forma Antiqva unter Aarón Zapico. Sie schöpfen mit ihren Instrumenten tatsächlich Klänge, die Eis splittern, Donner krachen und Regen tröpfeln lassen. Angst vor „schmutzigen“ Geigenstrichen, gewagten Schleifern und anderen Verzierungen oder extremen Rubati haben die Spanier nicht. Ganz im Gegenteil: Manchmal scheint der Geiger Aitor Hevia gar in eine Jazz-Improvisaton zu verfallen, während sich das rhythmische Gefüge des Ensembles regelrecht aufzulösen scheint.“ (BR Klassik, 13. Januar 2012)

'Es ist ein herber, ein experimenteller Zugang zu diesen berühmten Werken, hochvirtuos und voller Spannungen, unterbrochen von lieblichen Momenten in den langsamen Sätzen. Aber wenn dann das Sommergewitter naht und sich entlädt, oder die Eisschollen auf der Lagune im Winter unter höchster Spannung zersplittern - das hat man so noch nicht gehört … [Eines der faszinierendsten Alben der letzten Monate.] (MDR Figaro, February 20, 2012)

'… von derart betörender, bezwingender, packender, farbenprächtiger Lebendigkeit, dass hier mit Fug und Recht von einer Referenzaufnahme der historischen Musizierweise gesprochen werden kann: Aarón Zapico und Forma Antiqva, den 'Jungen Wilden' der Barockmusik gelingt eine expressive, dreidimensionale Bildfülle von höchster erzählerischer Kraft, Aitor Hevia an der Violine spielt überaus plastisch, präsent, virtuos und variabel.' (Jazzpodium, March 2012)

Forma Antiqva
Aarón Zapico, musical director, harpsichord
Aitor Hevia, solo violin
Guadalupe del Moral, Miren Zeberio, Pablo Prieto, Cibrán Sierra, Cecilia Clares, Judith Verona, violin
Antonio Clares, José Vélez, viola
Diana Vinagre, James Bush, violoncello
Vega Montero, bass
Silvia Márquez, organ & harpsichord
Pablo Zapico, baroque guitar & archlute
Daniel Zapico, theorbo

The Four Seasons Sonnets:
Theo Bleckmann, voice & electronic processing
Uri Caine, piano & electronics

Digital Recording at Auditorio Manuel de Falla (Forma Antiqva), Granada, Spain, July 2011
Digital Recording at Sear Sound (Theo Bleckmann and Uri Caine), NYC, USA, September 2011



Forma Antiqva
is the personal and professional project of the 3 Zapico brothers: {Aarón}, {Daniel} and {Pablo}. Founded in 1999, in just a short time it has managed to secure a leading position in the sector of Baroque music in Spain thanks to their up-to-date, daring and accurate interpretations, their refined image and their presence on social networks.

Daniel, Pablo and Aarón try to ensure that every Forma Antiqva concert is a unique experience, whether playing as a trio, a chamber ensemble or as part of an orchestra.

Born in Asturias, Aarón Zapico has made a forceful arrival on the early music scene in Spain over recent years. The key to this success can be found in his elegant, resilient interpretations with their varied and nuanced dynamics, as highlighted by the specialized music critics. He is constantly present at the most important festivals and concert halls, where he can be found leading symphonic orchestras, specialised groups and his own ensemble Forma Antiqva.

His services are increasingly in demand as a guest conductor and he has had the pleasure of leading the Symphony Orchestra of Galicia, the Symphony Orchestra of the Principality of Asturias, the Philharmonic Orchestra of Malaga, the Orchestra of Extremadura, the Roquetas de Mar Baroque Orchestra and Choir, the Bilbao Choral Society, the Princess of Asturias Foundation Choir, the University of Santander Camerata Choir, the Youth Baroque Orchestra of Andalucía, the Santander Academy of Early Music, Acadèmia 1750, the Baroque Orchestra of Vélez Blanco and the Youth Orchestra of the Autonomous Community of Madrid.

In 1999 he founded the baroque music ensemble Forma Antiqva (resident in the Oviedo Auditorium), to which he dedicates most of his time and attention. In just a few years he has managed to secure the ensembles place in the top ranks of historical interpretation thanks to their performances at the most prestigious cycles, their international tours across Europe, Asia and Latin America, as well as their recordings which have been repeatedly praised by international critics.

An exclusive artist of the German record company Winter & Winter since 2009, his recordings as a solo artist and conductor have been nominated on 4 occasions for the International Classical Music Awards (2010, 2011, 2014 and 2017) and have obtained maximum recognition by European critics. His version of Antonio Vivaldi’s celebrated Four Seasons in 2012 had a genuine impact across Europe and was unanimously elected by the critics as an absolute reference point.

Committed to recovering Spanish music from the 17th and 18th centuries, he has directed numerous debuts in modern times of authors such as Blas de Laserna, José Lidón, Antonio Literes, Joaquín Lázaro and Jaime Casellas. In a like manner, his interest in contemporary music and new artistic manifestations has led him to work closely with Ernst Reijseger (1954), and to record his symphonic poem The Volcano Symphony written especially for Forma Antiqva, Fumio Yasuda (1953) or Uri Caine (1956), in the multidisciplinar project Poem of a cell, premiered at the Heineken Jazzaldia in San Sebastian.

With classical training and an outstanding advanced degree in piano from the Conservatory of Oviedo, he specialised in early music and harpsichord at the Royal Conservatory of The Hague, where he completed his soloist diploma with the unanimous praise of the board. At the same time, he also received advices from the most renowned worldwide specialists in historical interpretation.

He has collaborated for many years with some of the most outstanding symphonic orchestras and ensembles under the baton of Frans Brüggen, Emilio Moreno, Pablo González, Marzio Conti, Álvaro Albiach and Victor Pablo Pérez.

He has worked as harpsichord and chamber music professor at the conservatories of Murcia and Oviedo and as guest professor on the most important courses on early music. He has also given advanced courses and master classes in places such as Melbourne, Singapore, Gijón, Aracena, Burdeos, Costa Rica, Vélez Blanco, Granada and Albarracín.

In 2009, his restless, committed and entrepreneurial spirit led him to found and direct (until 2013) the Early Music Academy in Gijón. From 2011 to 2013 he also directed the Early Music Festival in the same city, as part of which he created the first International Competition of Early Music in Spain and different pioneering initiatives, such as concerts for disadvantaged people. He has also participated actively in the foundation of GEMA (Association of Spanish Groups of Early Music) and in the Platform for teachers, performers, composers and researchers of the Principality of Asturias.

Aarón Zapico has been finalist as Best Director in the GEMA Awards the years 2015, 2016 and 2017. He has been the recipient of the Asturian of the Month award from La Nueva España newspaper, the Group of the Year 2010 prize from the Television of the Principality of Asturias, the Asturian Music Award in 2012, the Serondaya Award for Cultural Innovation in 2012, and the FestClásica Award (Association of Spanish Festivals of Classical Music) in 2015. He has been member of the Jury for the Princess of Asturias Awards.



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