Classical Music Mayhem!!

Over the past few weeks I've been listening to a great deal of Fabio Biondi and the Europa Galante's Vivaldi releases, issued on the Virgin Veritas label. Instead of listing these in the 'Listening to...' topic where they will eventually become lost in time I thought I would publish this modest album-by-album review here at CMM. Enjoy!

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Vivaldi's Op. 8 concerti, its first four being the famous 'Four Seasons.' To start, I see what Brian meant when he said that Biondi takes some liberties: that is quite apparent. This seems more prevalent in Baroque music and should probably be listened to with that in mind. One should also keep in mind that he is reading from Vivaldi's manuscripts, which comes across a little rougher than in the published edition. Liberties and artistic license aside, this is Vivaldi's music at its best.

Since I first heard the Op. 8 concerti several years ago I longed for a recording like this, but never could have imagined them sounding this good. You have Biondi, who must surely be one of the most gifted violinists I have ever heard (his playing is unbelievably effortless and smooth), churning out these magnificent and challenging concerti with Italian grace, passion, and flare, backed up by the equally talented and Italian-sounding musicians of the Europa Galante. The two have such a connection with each other and (arguably) with the music itself that it comes across as seamless. Not only are the performances superlative, but they were pristinely recorded, my only complaint being that the stereo effects in the Summer Concerto (No. 2) could have been highlighted a tad better.

One of the many treats found on these two discs is the fact that they did not exasperate all their skill and motivation on the first four concerti, which seems to be the tendency amongst many of the performers today; no, they treat all the concerti as the masterpieces they are, producing some jaw-dropping efforts. I was left grinning like a schoolboy at the end of each and every concerto, musical experiences that I have been returning to quite often over the past few days with the same result. Remarkable.

The production here, together with the informative and interesting linear notes, made me feel as though I was hearing the Op. 8 for the first time. I don't think I had really even understood the Four Seasons before hearing this recording; Biondi highlights the effects and imagery used in the first four so well that I wondered why I even bothered with other efforts. For example, in the Autumn concerto Vivaldi uses a thrumming technique to create the effect of muskets firing in a Fall hunt, something lost on other performers but quite apparent here. You can hear what seems to be the chirping of crickets in Spring, the striking of hail in the Summer Storm, the pleasant and comforting fireside in the Winter, all conjuring such vivid imagery that one feels he or she is there. Marvelous work here; if you love Vivaldi and have not heard this recording then buy it: now!

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Opening this CD I was under the impression that these would be some light, enjoyable Venetian motets, a notion which I now see for the foolishness it was. Contralto David Daniels joins Biondi and his troop on this one...

Daniels was also on a prominent role in Christie's recording of Handel's Theodora; his gorgeous voice shines through here as it did there. One of more beautiful voices of its kind that I have heard.

The focus of this album seems to be the Stabat Mater. When one hears the phrase "Stabat Mater" it is usually Pergolesi that comes to mind. Antonio has certainly given Giovanni a run for his money here! On this album you'll also find an exquisite Nisi Dominu and Longe Mala, which certainly hold their own against their counterpart.

One is struck by the great passion, sincerity, and sheer beauty conveyed in these works. Vivaldi, "The Red Priest," really knew how to do sacred music! For example, at the beginning of the Longe Mala (a modestly-scored affair for strings, continuo, and soloist) you find heart-striking attacks from the strings and the Baroque technique of a downward-spiraling motif used here to wrench from its listener a great sense of beauty and passion, Daniels singing vivaciously in the foreground. Throughout these works you're constantly being reminded of the fervour and zeal of 18th century Italy. Music that lifts the spirit.

Needless to say, the performers featured here are responsive and lively. Fabio Biondi's direction is phenomenal, perhaps wisest in the sense that he's not stealing the spotlight from the fantastic voice of Mr. Daniels (or maybe he simply couldn't!). Another hearty recommendation.

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More to come later...!

I have this and can highly recommend it as well. Great performances of the Four Seasons and the other concerti are also top-notch.



I love Vivaldi's Nisi Dominu which I have on another recording. I may have to get the Biondi.


Amazon Link

I know you have Christie's Theodora recording, which also features Daniels on it. Listen to his voice on that again and you'll see what I mean; he's really superb.

Pitty you didn't reserve your interesting review for a topic on Op8, which I don't think we have.

I'm going to review all of these Biondi Vivaldi albums here in this topic, but a review like this is not suited for a presentation/sample topic like so. I may very well do a topic on the Vivaldi concerti down the road.

Vivaldi's first publication of concerti, "l'Estro Armonico" ("Harmonic Inspiration"; 1711), is said to have provided Bach a foundation for concerto writing. One might assume that these would be rather conventional examples of the Italian concerto form; one might be mistaken. Here you find an amazingly diverse and flavourful amalgamation of concerti, containing within their pages brilliant melodic writing and superb soloist passages. You can hear the obvious influence of the earlier Italian masters, but with Vivaldian flare and innovation. Indeed, the booklet describes these as some of the most influential concerti in the history of music. The part writing is astonishing, especially when considering what we have with other composers of the time; no contemporary of Vivaldi's contains as much joy and energy as is contained in these marvelous works. Rich and vivacious concerti that scream Italy.

I imagine those used to hearing these piece played in a more standardized manner may be shocked to hear what Biondi does here; indeed, he gets away with a lot. However, for Italian Baroque, this approach works wonderfully. This is another instance where you can't imagine a better performance. Italians performing Italian music produces an exciting and bold sound. Biondi and the Europa Galante get everything right: crystalline technical quality, responsive and attuned playing, and masterful leadership have set the bar at an unreachable height. A must-have for Vivaldi fans and music lovers alike.

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Here we see a shift from Vivaldi the Violinist to Vivaldi the Priest. This is a collection of four motets for soprano and strings, one being a setting of the 112th Psalm (Laudate Pueri Dominum) and the others being Christian poems in Latin. For such small-scale works you see an amazing passion and focus, perhaps the kind of text setting you only get from an Italian priest. These works range from a sense of divine respite to heavenly fury, and at the end of each piece is found either an adoring 'Allelujah' (which brings to mind the same text setting in Mozart's sublime 'Exultate, Jubilate') or a revering 'Amen.' The C Minor 'Laudate Pueri Dominum' has a solemn beauty to it and the intense and fiery 'In Furore Giustissimae Irae' (which, at 626, bears the same RV catalog number as Mozart's Requiem does in the KV catalog) sounds almost unhinged and frantic in spots, threatening to carry its listener off in a storm of fury. Brilliant vocal writing all around.

You will recall that in the previous album of motets you found the brilliant David Daniels presiding, the choice of countertenor probably being more historically accurate when performing these works. Here you have soprano Patrizia Ciofi. This may be the first time I've butted heads with a Biondi recording; at times she sounds quite sensible, but otherwise conjures an Emma Kirby-like shrillness and dryness that is quite repulsing. Still, she demonstrates great skill and ability to be able to churn out Vivaldian run after Vivaldian run with ease and clarity. All-in-all these are good performances of extraordinary works, well recorded and performed by the Europa Galante with Fabio Biondi at the helm.

I think you have enough material now to turn this site into the Vivaldi forum! If you get round to starting any topics on the church music I have a few samples I can chip in with too from...
http://www.amazon.com/Vivaldi-Sacred-Mu ... B000002ZVI


http://www.amazon.com/Vivaldi-Sacred-Mu ... B000002ZVR


http://www.amazon.com/Vivaldi-Sacred-Mu ... B000002ZW0

Oh dear... You have King's Vivaldi...

I'll certainly consider pumping up the orchestral or religious portion of the site with some Vivaldi samples in the future.

Yes.. they were a gift...

I have not heard them myself, but some Vivaldians I've corresponded with assure me it's just as good as his Handel...

Well the music is not quite in Handel's league in my opinion but the performances from King are always the same whoever the composer is, as is the Hyperion sound.

That's a given with regards to King's efforts. Thankfully he cannot bother the Old Masters (or anyone else) again for a very long time.

I'd probably agree with you regarding the music as well, though I'm conflicted. I've actually been going back and forth between the two composers quite a bit lately. Vivaldi certainly has more sacred music than Handel and it's all of superb quality. His Dixit Dominus really gives Handel's a run for its money! Handel's Dixit Dominus is amazing, though... Sometime I should do a topic on the Vivaldi Motets, which are quite laudable.