Royal Conservatory of Music: Vivaldi at 400 | Claudio Monteverdi: Adoramus te, SV 289 (transcription); Antonio Vivaldi: Concerto madrigalesco, for strings and basso continuo in D Minor, RV129; Marco Uccellini: Bergamasca; Antonio Vivaldi: Violin Concerto in D Minor, RV 813; Francesco Geminiani: Concerto Grosso No. 12 in D Minor (“La Follia”) (after Corelli); Antonio Vivaldi: Concerto in E Main, op. 8, no. 1, “Spring” from The 4 Seasons, RV 269; Antonio Vivaldi: Concerto in G Minor, op. 8, no. 2, “Summer time” from The 4 Seasons, RV 315; Antonio Vivaldi: Overture to La fida ninfa, FV 714; Antonio Vivaldi: Concerto in F Main, op. 8, no. 3, “Autumn” from The 4 Seasons, RV 293; Antonio Vivaldi: Grave from Violin Concerto in B flat Main, RV 370; Antonio Vivaldi: Concerto in F Minor, op. 8, no. 4, Winter” from The 4 Seasons, RV 297. Les Arts Florissants, Théotime Langlois de Swarte, violin. March 29, 2025, Koerner Corridor.
Les Arts Florissants returned to Toronto, this time with Théotime Langlois de Swarte — a younger, gorgeous violinist — on the helm, bringing a combined Italian baroque program centered on Vivaldi. It was stuffed with rocket-fuel vitality, the place acquainted music freed itself from expectations to turn into new, with nice depth of expression — the whole lot from the curiosity of the Cheshire cat, to probably the most tender gentleness from the center, and vehement fury.
Glancing on the printed program, many would’ve been curious in regards to the Monteverdi ‘Adoramus Te’ transcription, and Uccellini’s ‘Bergamasca’, whereas the identify, Vivaldi — particularly when hooked up to the phrases ‘violin concerto’, and 4 Seasons — should’ve introduced a way of consolation and familiarity.
Opening the live performance with the contemporary collection of Monteverdi and Uccellini, fastidiously curated to run seamlessly from one to a different, with Vivaldi’s Madrigalesco concerto within the center — an homage to Monterverdi — the group instantly commanded the room with pin-drop silence. The unimaginable dynamic breadth and colors, from listening to 13 ensemble string gamers negotiating the gentlest pianissimo with straight tones, then exploding into percussive, hot-driven crescendos into the fortes, was actually spectacular.
The balancing of tutti sections vs. accompanying sections for de Swarte’s versatile, but extremely correct solos, have been glorious; the conversational exchanges between de Swarte, and ensemble leaders Augusta McKay Lodge (Violin), and Hanna Salzenstein (cello), have been particularly fascinating.
Vivaldi: The 4 Seasons
Nevertheless, when de Swarte requested the viewers to faux that we’ve by no means heard of the 4 Seasons, it felt like an unimaginable request — it’s been used in every single place, for worldwide commercials from Audi to Beats by Dre, and God solely is aware of what number of different manufacturers and occasions. The whole lot from birthdays and weddings, to funerals, have quoted the 4 Seasons. A fraction of it even made it onto the entrance cowl of the New Yorker.
Nevertheless, LAF and de Swarte’s 4 Seasons have been contemporary — a lot life and inspiration elevated this acquainted basic to a genuinely new listening expertise. The extra companion items, unique and placing in their very own proper, although undoubtedly Vivaldian, broke the acquainted circulation of the 4 Seasons — a noble idea for many people, who got here to depend on recordings transferring from one monitor to a different in automation. The sequence of occasions and realized expectations are highly effective, particularly when such a sequence is disturbed, forcing us to create new areas in between issues that we all know so effectively.
The development of pace and momentum of phrases, usually marked with dramatic pause and silence, have been freed from bar traces and be aware stems, conjuring actual time magic from the static rating.
Judicial rhythmic bowing for sure sections created a significant rhythmic drive bordering on people/steel music, contrasting sharply with the sinewy elan of the linear phrases. The pacing, starting from barely detectable gestures born out of silence, to true propulsions, have been mesmerizing. Salzenstein’s continuo cello enjoying was distinctive, as she matched de Swarte’s vitality and complexity, elevating the solo and cadenza sections as a duel of equals, then weaving again right into a singular, lovely working engine.
Probably the most gorgeous of the 4 Seasons was the Largo from ‘Winter’. As an alternative of the same old sparse pizzicato that depicts light rain, the group offered a swirl of pizzicatos in sixteenth notes. The heightened distinction between the countless raindrops falling all around the house, and de Swarte’s countless linear melody was unimaginable.
Many have tried to make the 4 Seasons anew, but this explicit efficiency succeeded by merely altering the heart beat of the pizzicato — easy modifications could be so gorgeous.
Ultimate Ideas
On this noisy world the place something and the whole lot goes collectively, Interchangeability and substitution usually lead us astray, and the satan is flourishing on the main points.
As we casually check with musical scores as music, we lose so much, and that loss is tough to measure till we actually expertise what music is. The thought of custom and historical past are additionally a double-edged sword. We dig by means of historical past to kind traditions to assist us perceive: nonetheless, as soon as we construct a reliable custom, it rapidly shackles and restrains us.
LAF and de Swarte’s 4 Seasons presentation gave us a trajectory that almost all of us haven’t ever dreamed of, but remained true to Vivaldi’s narrative arcs. The unfamiliar picks from Monteverdi, Uccellini, and Geminiani, have been true items to have the ability to see issues anew for the viewers.
The inspiration and vitality of the night, drawing from cautious curation of musical picks, with excellent musical and technical enjoying, resonated by means of everybody’s coronary heart in Koerner Corridor. It was an exhilarating night, and it’s thrilling to see how younger de Swarte and LAF proceed to ignite the fervour for magnificence in all of us.
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Cecilia tumbled into ‘critical’ music examine when she determined to keep away from attending medical faculty. At present working within the subject of classical music, recording, and Korean-English interpretation, she tends to get her nostril soiled in many various issues within the metropolis. Cecilia holds a DMA in Piano Efficiency from the College of Nebraska-Lincoln.
