Anima

Astor Piazzolla’s “Four Seasons of Buenos Aires” reimagines Vivaldi’s masterpiece, “The Four Seasons,” within the context of the Argentine tango. Originally written as four separate pieces between 1965 and 1970, Piazzolla’s interpretation infuses Vivaldi’s Baroque elegance with the passionate and rhythmic essence of tango, creating a fusion of classical and contemporary musical styles. Each season, represented by a separate movement, vividly captures the changing moods and dynamics of Buenos Aires throughout the year. Piazzolla’s “Four Seasons” is a testament to his extraordinary talent for pushing the boundaries of traditional tango music and creating a modern, evocative work that remains a cherished gem in the world of classical and tango music.

This monumental work of French Romanticism is one of the essential landmarks in the career of any conductor. The quality of Berlioz’s orchestration and questions of timbre and the ideal instrumental forces lie at the core of the approach of Jos van Immerseel and Anima Eterna Brugge, who are increasingly drawn to French composers and especially to their precise, shimmering orchestral textures.

Anima Eterna Brugge, founded by Jos Van Immerseel in 1987, is a period-instrument orchestra based in Bruges. The size of the ensemble varies from seven to eighty musicians, depending on the programme. Its repertory ranges from Monteverdi to Gershwin.

Often described as ‘music for amateurs’, sometimes used (or misused) towards purely commercial ends, Orff’s Carmina Burana was clearly ready for a new approach, a sort of revivifying, thorough rethinking. This has now been done, thanks to Jos van Immerseel and the absolutely exceptional musical team that he assembled.

I wouldn’t have thought the world was anxiously waiting for a historically informed performance of Rimsky-Korsakov’s Scheherazade . Written in 1888 and a masterpiece of orchestration, it would seem that this was one work that really cries out for the full resources of a modern symphony orchestra. So I was surprised when I saw a listing for this new recording with the Bruges-based period-instrument ensemble, Anima Eterna. Despite all the heat generated in some quarters, I remain fairly neutral regarding H.I.P., seeing it neither as the salvation of music from 20th-century excesses nor as the death of music through formalism. At their best, H.I.P. performances throw a different light on the overly familiar.

The music of Spanish-Argentine composer Eduardo Grau is imbued with Hispanic elements. His Concerto of ‘Yuste’ for Violin, Piano and Timpani was inspired by the Spanish monastery of its title and is notable for its rhythmic drive, lyricism and mystical atmosphere. The Concertino for Viola and Piano is deeply expressive and intimate, while folkloric dances from Argentina are used in the Concerto for Clarinet including the vivacious chacarera. The verses of Spanish Golden Age poet Garcilaso de la Vega provided the inspiration for Grau’s To the Flower of Gnido for Flute and Piano.