This October, northern and southern hemispheres collide as Auckland Philharmonia’s Baroque & Beyond series takes on Vivaldi’s ageless portrait of the seasons juxtaposed against a Piazzolla one, illuminating both in surprising ways.
Everybody knows and loves Antonio Vivaldi’s (1678-1741) collection of four short violin concertos, The Four Seasons. Do they even need an introduction? It feels like they’ve become a familiar friend, popping up everywhere in everyday life – especially as they’ve featured in more soundtracks than I care to count, from The Simpsons and Ted Lasso to John Wick and Pretty Woman.
The pieces themselves were ground-breaking for their time, particularly in that each movement had accompanying lines of poetry. This made the Seasons an early example of program music (music with narrative or descriptive elements) long before the popularity of program music really took off in the Romantic music of the 19th century.
Listen for example to the lilting solo violin evoking the cold, howling wind and the rhythmic stamping of frozen feet in Winter’s first movement.
Shivering, frozen mid the frosty snow in biting, stinging winds;
running to and fro to stamp one's icy feet, teeth chattering in the bitter chill.