Four Seasons

Originally released in 1989, violinist Nigel Kennedy's modern take on Vivaldi's Four Seasons was instrumental in the development of the now hugely popular classical crossover scene. Recorded with the English Chamber Orchestra, the eccentric musician famous for his rather unorthodox punk rock image, made the genre accessible to the masses, bringing the 400-year-old pieces of music to life with his unique and vigorous playing style. One of the biggest-selling classical albums ever, Kennedy's tenth release is one of over 150 interpretations of the 12 concertos. ~ Jon O'Brien

This disc marks the first installment of what the liner notes promise will be "a dedicated Vivaldi Project to understand and explore Vivaldi's genius." Another series devoted to Bach is planned, so hold on to your hats -- the bad boy of British violin playing is bringing his outsized ego and considerable skills back to Baroque music. Kennedy intends not just to reinterpret old favorites but also to unearth music that is rarely performed, so here listeners will get the played-to-death Four Seasons concertos together with a moderately well-known work, the two-violin Concerto in A minor, Op. 3/8, and one that is quite unfamiliar, the Concerto in D major for two violins, RV 511. The last-named is a late work, musically discontinuous and quite operatic in conception. The Four Seasons performances are different in detail but not in basic plan from Kennedy's earlier readings, with harmonically unidiomatic improvisations, mighty quick tempos in some outer movements, unorthodox phrasing, and various other surprises. The biggest new development is the range of sounds coming from the strings of the staid old Berlin Philharmonic; Kennedy introduces novelties like Bartok pizzicatos in the last movement of the "Autumn" concerto, and he has the players dig in with several kinds of meaty attack that add tremendous energy to the music. Like Kennedy or not, it's worth asking at this point whether he accomplishes what he sets out to do, and the answer here is a qualified yes. He shapes a Vivaldi package that holds together, right down to the liner notes by Kennedy's manager John Stanley. They present a novel interpretation of Vivaldi's man-on-the-edge-of-propriety status in Venetian society -- of the composer, in a way, as a forerunner of Kennedy himself. It's good to see that Kennedy hasn't mellowed with age.