In the eighteenth century, in both Italy and France, instrumental music was regarded as devoid of all signification and unable to affect the intellect unless it was accompanied by a literary argument (like 'The Four Seasons') or a choreographic action (like 'Les lments'). Long before Franz Liszt's symphonic poems, Vivaldi and Rebel - both of whom owe their claim on posterity to the works recorded here - showed they could create lively and descriptive instrumental music, admirably meeting the ontological, aesthetic and moral requirements of Enlightenment philosophy.
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