If there is one area where modern musicians have disregarded 18th-century practice, it is in reverence for the static score.
The work is Vivaldi's Four Seasons. Vivaldi himself was a master of reuse, and my version of Winter reworks the concerto for the same chamber ensemble that Vivaldi frequently employed (recorder, oboe, violin, bassoon and continuo). Based on what I know, my re-workings of Spring, Summer and Autumn speculate what Bach, Rameau and Handel might have done with Vivaldi's material.
If there is one area where modern musicians have disregarded 18th-century practice, it is in reverence for the static score.
The work is Vivaldi's Four Seasons. Vivaldi himself was a master of reuse, and my version of Winter reworks the concerto for the same chamber ensemble that Vivaldi frequently employed (recorder, oboe, violin, bassoon and continuo). Based on what I know, my re-workings of Spring, Summer and Autumn speculate what Bach, Rameau and Handel might have done with Vivaldi's material.
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