CLASSICAL MUSIC : Vivaldi Concert Has Its Seasonal Ups, Downs

Like the ubiquitous Pachelbel Canon, Vivaldi’s “Four Seasons” do not suffer from lack of exposure. The sprightly concertos fill the airwaves of classical radio stations, provide background for many television commercials and have been readily homogenized into the sacred canon of Muzak.

Locally, however, the “Four Seasons” have rarely been programmed in their entirety, so SummerFest’s decision to include the cycle on an all-Vivaldi program with soloists of the caliber of Ani Kavafian and Andres Cardenes was welcomed. Reportedly, La Jolla Chamber Music executive director Geoff Brooks could have sold the popular program twice over.

The highlights of Sunday evening’s all-Vivaldi SummerFest concert were the four violin soloists--one per season, of course. Each musician filled the dual role of leading the 16-piece string chamber ensemble and performing the violin solo. In the F Minor “Winter” Concerto, Cardenes, former San Diego Symphony concertmaster and the Pittsburgh Symphony’s new interim concertmaster, proved his mastery of the idiom with seemingly effortless aplomb.

Like the best wine in the New Testament parable, Cardenes’ artistry was saved for the last. In contrast with the other violinists on the program and with Heiichiro Ohyama, who conducted the two concerti grossi that preceded the “Four Seasons,” Cardenes demonstrated that the best way to bring out the power of Baroque music is to allow it to blossom from within, releasing its energy, rather than attempting to dominate it with an overlay of arduous interpretation.

While Kavafian approached the “Spring” Concerto with her usual vitality and beautifully focused tone, she lacked spontaneity. Having to combat the overly loud and sometimes coarse sounding accompanying string ensemble certainly did not help matters.

Eugene Drucker’s solo in the “Summer” concerto exhibited the most individuality, especially in his inflection of the solo line. Native San Diegan Frank Almond was given the least engaging role, playing the F Major “Autumn” Concerto, and his overly tentative beginning put him at further disadvantage. Some may dismiss Vivaldi for his Baroque “minimalism,” but his demands on the soloist are frequently treacherous, as Almond discovered in the allegro opening movement of his assigned concerto.

On the opening half of this Sherwood Auditorium program, Ohyama conducted a pair of concerti grossi from Vivaldi’s Op. 3 with aggressive vigor, immense dynamic contrasts and unrelenting tempos. Of course, one man’s authenticity is another’s poison, but this 1950s “sewing machine Baroque” is as dated as the hula hoop. Poor Michael Zearott vainly struggled to convey a stylish continuo realization on a highly amplified harpsichord. He was the sole performer who exhibited a lively sense of Baroque ornamentation, but given Ohyama’s approach, he really should have been playing a piano, or perhaps a synthesizer.

Although local violinists Igor and Vesna Gruppman led the violin sections of the chamber ensemble with skill and authority, the young musicians hired for this pickup orchestra were far below their caliber. This choice, whether for economic or expedient reasons, reflects poorly on SummerFest, which has a reputation for being a class act.