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George Chien
Fanfare, July 2012

Tafelmusik’s recording of The Four Seasons was made in 1991…It’s a constant delight—from “Spring”’s avian twittering to “Winter”’s stormy blast. Jeanne Lamon and friends play with utmost skill, of course, and infectious verve, but also with vivid imagination. Lamon makes the most of the programmatic aspects of the score, but always from a superbly musical perspective.

The mysterious Sinfonia “At the Holy Grave” and the popular Four-Violin Concerto…round out this marvelous disc. © 2012 Fanfare Read complete review

Bertil van Boer
Fanfare, July 2012

Tafelmusik has decided that they ought to take charge of its own destiny by releasing works on its own label.

The booklet notes of this recording reproduce all four poems translated into the usual languages (French, German, and English), so that it is possible to listen, read the nicely descriptive notes, and follow along with the sonnets all at the same time.

Lamon and her colleagues are energetic, lively, and quite forward in their rendition; no caution or conservative approach here. The continuo of the finely balanced ensemble moves freely between harpsichord, archlute, and organ, allowing a series of good contrasting textures in the group, and, as I’ve become used to hearing with Tafelmusik, the ensemble is always first-rate.

Compared with the plethora of recordings available for this iconic quartet of concertos, I am pleased to say that this is one rerelease that is still a favorite for its energy, nice phrasing, and excellent playing. © 2012 Fanfare Read complete review

David Vernier, May 2012

Instrumentally speaking, this is a perfectly proportioned configuration, allowing maximum clarity and detail, giving exactly the right amount of weight to the ensemble and prominence to the solos. And the ensemble—you couldn’t ask for a more unified and spirited group, who actually manages to play this music as if it were truly fresh and new. Timeless. © 2012 Read complete review, April 2012

well-thought-out in Tafelmusik’s splendid recording of Vivaldi’s The Four Seasons. Lamon is the soloist here, taking a more forthrightly virtuosic role than in the Bach works… On the plus side, the booklet contains the four sonnets that Vivaldi provided as guides to the music… Also a plus—a big one—is the inclusion of two additional works, the brief but deeply heartfelt Sinfonia “Al Santo Sepolcro” and the four-violin concerto, Op. 3, No.10, here performed with one player per part and sounding beautifully balanced as a result. This Vivaldi CD dates to 1991, but its sound does not seem to be 20 years old, and fits the music just as well as does the style of the performers. © 2012 Read complete review

Phil Muse
Audio Video Club of Atlanta, April 2012

There’s a real sense of the vital rhythms in these performances, especially in the dance-inspired measures that open “Spring” and “Autumn,” when you can almost feel, as well as hear, the tread of the footfalls.

These are strongly characterized performances in which we get a distinct impression of the effects Vivaldi was aiming for in his musical picture painting…

Jeanne Lamon really gives us an impression of the dominant role the principal violin plays in these concerti, more than I’ve customarily heard in other versions. It’s not just in the dazzlingly virtuosic figurations in the upper range that create an indelible impression of the fury of a sudden thunderstorm in “Summer” or the double stops that relate to the chattering teeth of a wayfarer in “Winter.” We hear it also in the thirds, fourths and sixths with which the solo violin imitates the calls of the hunting horns in “Autumn” and the wonderful moment when it passes the enchanting song of the cuckoo to the whole string orchestra in “Summer.”

Vivaldian magic continues in the two other items on this compact disc, the powerfully dissonant Sinfonia al Santo Sepolcro (for the Holy sepulcher), with its anguished chromatic harmonies appropriate to a work intended for performance during Holy week, and the Concerto for Four Violins, Op. 3, No. 10, with its indescribable rhythmic brilliance epitomizing the collection whose title, l’Estro armonico (Harmonic Ecstasy) says it all. © 2012 Audio Video Club of Atlanta Read complete review

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