Tags
Andre Arpino, Jacques Loussier, Jacques Loussier Trio, Music review, The Four Seasons, Vincent Charbonnier, Vivaldi
Lacking the plangency and heart thrill and squeeze of the original………and yet…….
The Jacques Loussier Trio – Jacques himself on piano, Vincent Charbonnier on bass and Andre Arpino on drums, here bring their jazz interpretation of Vivaldi’s Four Seasons – two instruments to provide what an orchestra does, in terms of melody texture, tone and harmony, and with a much stronger emphasis on rhythm, with that third instrument being percussive.
Many years ago, in the brief period when I stopped listening to classical music by safely long dead composers, I came across a jazz version of The Four Seasons – no idea who by, I had mistakenly thought it must be Jacques Loussier, due to his connection with Jazz Bach – but I’ve recently come across this definitely Loussier version. And very fine it is too
I do have to say that the original orchestral piece, with the richness of the different tones brought by more instruments, and the dominance of melody and harmony which classical music has, over overt rhythm, is full of much more visceral, heart, soul, spirit grab than a jazz version is likely to be, for me. Classical pieces (well certain classical pieces, if well performed, and Four Seasons is one) seem to unlock my tear ducts, and I will listen, tears (without obvious simple, named emotion behind them) will pour down my face, and I will feel the music stretching itself as if into the fascia of my body. Not a cerebral response, not a ‘this is pleasant’ response, but a kidnapping, a taking over.
Anyway, this, I do like a lot, it is marvellously pleasant, and I nod along, very happily, 
tapping my feet, thinking all sorts of things. It is bright, it is skilful, musical, playful, inventive. And I am very happy for all those things. I do not want to be kidnapped and held hostage all the time. I can admit to being very fond of this CD. It is not the madness of the coup de foudre of falling in love, which Vivaldi’s original is for me.
Warmly, not madly, besottedly, taken out of my senses and transportedly, enjoyed. I do think there may be something particularly supernatural about the violin and its powers…………
Jacques Loussier Trio – Vivaldi The Four Seasons Amazon UK
Jacques Loussier Trio – Vivaldi The Four Seasons Amazon USA
Lady Fancifull 
Well, I stuck it out for 1 minute and 3 seconds, which with jazz is pretty good for me! Think I’ll get back to those violins now… though Novak is just about to play even sweeter music…
Pin pling thwack GAME Djokovich??
New to me, and for me too, very fine. I’ll get this one, thanks. When well done, I do appreciate hearing the musical story told in a different way across classical and jazz genres. And in the way of these things, thinking of this music, and your earlier jazz review, put me in mind of another jazz (based on a classical) track I haven’t listened to for 25-30 years, and so I’ve just spent a very pleasant 20 minutes revisiting that. It’s Jim Hall’s (and others) version of Concierto de Aranjuez; gentler and less yearning than the Miles Davis’ version on his Sketches of Spain, and one which engages me throughout. So thank you too for triggering more warm and enjoyable musical associations 😊
Ooh, I think I might take a mosey – I did check out the Davis version following the Jazz book, which is having me dip in and out of various Jazzers.
Funnily enough, the Loussier, along with another blogger (and I must try and find who is was, when I write my post!!) alerted me to the fact that another of my favourite composers, Philip Glass, produced ‘An American Four Seasons’ : Violin Concerto No 2. This was not a Glass I had in my collection, so it was duly bought, forthwith, and is in the process of working its way towards a review, when the music is bedded down in me enough to think about the experience of it
I’m a traditionalist on this one. After listening to Interpreti Venziani play this in Venice, I have no space in my heart for any other. It is full to bursting, so much so that I often tear up when thinking about it.
Ah how wonderful. So I’m probably not going to tempt you with My Philip Glass The American Four Seasons either then!
There is of course, always something extra special about a performance which works ‘in live’ isn’t there, and however brilliant the studio recording may be, you don’t get that something special which unites the live musicians and the audience, who kind of feed the intensity with mutual attention. It’s a co-creation of divinity in my book!
Yes, divine. The closest thing to a religious experience I’ve ever had. I took a university seminar course entitled: Death and the Sublime. Something about peering into the face of death/god/nature, something so beautiful that it’s chills and thrills. Exquisite.
Sounds a really interesting course. And I absolutely concur with that chills and thrills. I also had a concert moment with The Four Seasons, completely unexpectedly. A small, unknown ensemble in a small place where I was holidaying, and there was a concert of this in a local church. And the tears started almost immediately and continued throughout the entire piece. It played itself inside my body, the music running in my veins. The only bad note was the applause when the music stops. If I were Queen I would BAN applause, and everyone be forced to sit silently for some minutes waiting for the complicated gossamer architectural structure of sound the music created to gently dissolve, and the world and the listeners come back to the hear and now, a little changed. Applause after concerts (if a good one) always feels as if someone has punched me very hard in the gut and slapped me equally hard in the face. Quite traumatic!
I did go to one concert (hurrah!) where the rest of the audience kind of felt that too, and we all sat there for a few beats, and listened to the silence as the music left
I agree! Those moments of letting it all sink in and then resolve, allowing the transformation to make a permanent mark. Instantaneous applause tends to scare away the ghosts of the music before they have a chance to leave a trace.
Ah, what a great image. At my next concert I shall attempt to hold those ghosts. Perhaps sticking my fingers swiftly in my ears at the end of the piece is the way to go!
I agree with all that you say. At the same time, I really do like this version. It’s just . . . different.
A couple of years ago (so I’ve no idea if it’s still there) someone posted on YouTube a version played on instruments of the period and in the style that would have matched the period. It was very exciting — far more so than the renditions we’re used to.
I must try and find that. Thanks realthog