Vivaldi 0

The Four Seasons, Op 8 — No 1 in E, 'Spring', RV269; No 2 in G minor, 'Summer', RV315; No 3 in F, 'Autumn', RV293; No 4 in F minor, 'Winter', RV297. Violin Concertos — in E flat, RV257; in B flat, RV376; in D, RV211 Giuliano Carmignola vn Venice Baroque Orchestra / Andrea Marcon Sony Classical SK51352 (72 minutes: DDD) As sharply focused as any Four Seasons in the catalogue and better played than most. But be sure to batten down the hatches for Carmignola's 'Winter'

Four Seasons - selected comparisons:

Harnoncaurt, VCM, Harnancourt (TELD) 0630 13572-2 Kaufmann, NYPO, Swoboda (LYS) LYS533-7

Kennedy, ECO (11/89) (EMI) CDC5 56253-2 Onofri, Grazzi, 11 Giardina Armonico (1/95) (TELD) 0630 14619-2

Vivaldi's Four Seasons, like nature's, come and go in their various moods and meteorological vicissitudes. We've had ochre sunsets from Louis Kaufmann, Harnoncourt's Breughelstyle rusticity and the provocative Nigel Kennedy, to mention but a scant few. Giuliano Carmignola's primary claim on our attentions (this is his second shot at the piece) is, aside from a delightfully woody-sounding baroque instrument, a keen narrative flair. Furthermore, he knows the musical period, understands principles of embellishment and doesn't hesitate to enrich his performances with added colour and rhythmic thrust.

'Spring' arrives in rude high spirits, toying with birdsong (slowly at first then speeding up) and with thunder thrashing between violin desks. The violas' 'barking dog' is worryingly prominent (that is if you don't like dogs) and the finale contrasts a swelling legato against sparkly solo passagework. The 'impetuous weather' of 'Summer' has power enough to keep the National Grid up and running and I loved the diverse winds of the multi-faceted opening Allegro of 'Autumn' and the way the harpsichord holds its own in the second and third movements. The cruel weathers of 'Winter' inspire the expected bursts of virtuosity while the Largo's raindrops unexpectedly seep through to the busy bass line (most versions don't allow for the leak). Varieties of plucked continuo help fill out textures and Carmignola himself plays with immense brilliance.

The three additional violin concertos are all said to be first recordings and reveal a rather different aspect of Vivaldi's style. Generally speaking, they sound more formal than the Four Seasons, almost pre-classical in RV257's opening Andante molto e quasi allegro and with sideways glances at Rameau in the opening of RV211 (which also includes a brief first-movement cadenza). Dance rhythms again predominate. Great sound, by the way, full and forward and with every instrumental strand given its proper due. Thinking in terms only of the Four Seasons, good rivals are so plentiful that comparative discussion becomes less a question of 'who gets it right' than how you like your birds and storms. There are countless period-instrument options and almost as many that use modern instruments but take heed of period performing practice. Up to now, my own favourites have been II Giardino Armonico and Harnoncourt's Concentus Musicus Wien, but I see no reason why this new version shouldn't join their hallowed ranks. It certainly deserves to. Rob Cowan