Customer Reviews

Vivaldi - Il cimento dell'armonia e dell'invenzione Op. 8

5 star:		(22)
4 star:		(3)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

With so many recordings of the "Four Seasons" already available, do we need another one from Fabio Biondi and his Europa Galante, especially when they recorded these same concertos (using the same Manchester edition) a decade ago? Well, not really, but for everyone looking for a great Vivaldi bargain, this is it. Here you can have not only a vibrant and refreshing performance of the "Four Seasons," but excellent interpretations of the other eight concertos of "Il cimento dell'armonia e dell'invenzione," all in two CDs that cost less than the only one of Biondi's previous version for Opus 111. Biondi here is even more expressive than in his earlier recording, with some extreme variations in tempos, some prolonged pauses, more dynamic contrasts. It's the kind of touch that has become the rule recently (Kremer, Carmignola) and can make a performance interesting in the beginning, but not invite repeated listening. Here, though, Biondi performs with a warmth that wasn't entirely present in the Opus 111 CD, with a bigger orchestral body (nine violins, including him, compared to six previously), and the result is satisfying for much more than the novelties. I've heard only partially the new Carmignola/Venice Baroque Orchestra version, which I suppose battles with this new one for the dollars of the buyers. I thought the Carmignola version was a little more excentric than I would like. Many people seem to love it. Anyway, I doubt any of its fans would dislike this new recording, and Biondi comes with much more music for the same price. Right now, it's the "Four Seasons" to go for.

Like most younger generation music enthusiasts, I'm sure, Vivaldi's Four Seasons played a very prominent role, in many cases serving as a portal through which many neophytes passed on their journey into the wonderful world of classical music. Even if attempted, how could one avoid it? These eternally ubiquitous concertos have seem to have been arranged for every instrument from harmonica and banjo to celesta and bass trombone and have served as the themes for countless films, including the Alan Alda picture of the same title. It's this same over exposure that would eventually turn my genuine fondness for these works into one of intense dislike. My disdain was so great that if I ever heard the concertos again it would be too soon. Enter the BBC and their weekly program "Building a Library" which featured Vivaldi's complete Op. 8, "Il Cimento dell'armonia e dell'inventione" of which The Four Seasons are the first concerto. Normally I would just skip over a segment I didn't particularly care for, but I was interested in what the reviewer had to say about the other works, none of which, though popular, have ever quite achieved the status of the "Seasons." It was these works that held my attention throughout and I found the playing unbelievably intense and alive, with just the right amount of urgency to make the works sound fresh and exciting but never forced or rushed. That same afternoon, I purchased the CD and I couldn't believe what I heard. Even the "seasons" a work that I thought I could hum in my sleep, jumped off the CD and filled the room with amazing colors and a vivacity and relevance that was awe inspiring. Yes, it's incredibly fast where it needs to be, yet it's never done at the expense of the music. The music is not at the mercy of virtuoso ensemble, Europa Galante, but rather the other way around, seemingly swept away by their excitement at reshaping these war-horses into something new without distorting Vivaldi's ideas or beautiful melodies. Using a different manuscript than what is normally used, Biondi and company relish every opportunity to demonstrate just how significant these works can be. There are percussive elements and striking use of pizzicato, oboes replacing violins (as was Vivaldi's original intent) and greater prominence to the continuo. In short, this ain't your momma's Four Seasons. Even if you, like me, can't stand the thought of hearing Concerto No. 1 "Spring" ever again, give this incredible recital a chance; I guarantee you'll be blown away. By the way, the sound quality is through the roof, with striking clarity, presence and warmth.

We've all heard the Four Seasons a zillion times by numerous players. Well, buckle up: you've never heard anything like this! Biondi and his forces end any argument that anyone may have tried to mount favoring modern instruments over the originals. One simply cannot return to any modern instrument performance -- and probably not to any other performance by anyone, period -- after listening to this. If the Autumn segment doesn't give you bring tears of joy to your eyes and have you leaping out of your seat, shouting alocades, nothing will. See your doctor in that case. This is an absolute "must have" performance!

Over the years my preference in Vivaldi records has run to Christopher Hogwood and the Academy of Ancient Music but this recording of Il cimento dell'armonica e dell'inventionae (the combat between harmony and invention) is certainly the most energetic and inventive performance that I have heard. What makes this recording different is that Europa Galanta has gone back to the original manuscripts preserved in the libraries of Manchester, Turin and Dresden. The manuscripts reveal a freedom with the manuscript versions on the concerto that does not exist with the published versions. Fabio Biondi examined the manuscripts and where there was multiple versions would sometimes combine ideas from both for tempi but reject notions made by hands other than Vivaldi's. The performance practice that comes out of the manuscripts brings different dynamics and tempi to the performance.

Antonio Vivaldi's opus 8 collection of concerti was meant to astonish with their brilliance of invention, experimenting with instrumental combinations and pushing the orchestral colors to their limits. Arguably, the prominent first four concertos - The Four Seasons - took the idea of invention and colorful description to new heights. However, the popularity of the first four concertos (The Four Seasons) of Vivaldi's opus 8 has come at the expense of relegating the remaining concerti of the collection to obscurity. There is no evidence that Vivaldi arranged the concertos in order of most superior to least and they are recorded here, except for the Four Seasons, out of their numbered order. The fifth concerto, la tempesta de mare, is an exuberant and tuneful concerto with alternate dramatic and calm that seems to depict the fury of a storm. The sixth concerto, Il piacere, explores the idea of pleasure using a laughter-like theme in the first movement, followed by a movement suggesting sleep and a dance-like finale.

The second disc in this set begins with concerto No. 11, which begins with an exuberant first movement followed by a beautifully reflective middle movement with an extensive solo violin part; the Finale is interplay of harmonies with the soloist pitting himself against the other players with a very demanding part. Another of the named concertos, la caccia (or the hunt) - the 10th concerto, follows and is a real tour-de-force with its bold rhythms. The 8th, 9th and 12th concerti explore a richness of melody and invention that is astonishing: the 12th is a joyful concerto with the players leaping to high and low register and the 9th with its more reflective character with the soloist playing a more intimate part.

The music is beautifully recorded and balanced and it is accompanied with a very informative booklet that includes remarks by Fabio Biondi as to how he selected the versions of the concerti played here. A very rewarding set that will be of interest despite how many copies of the Four Seasons you might already have.

With the catalog listing dozens of recordings of Vivaldi's ever-popular "Four Seasons," an obvious question is "why do we need yet another recording of this overplayed masterpiece?" While one part of me says we probably don't, another part of me is glad that Fabio Biondi and the Europa Galante produced this interesting period recording. Fabio Biondi shows in this imaginative recording why he is considered one of the top period violinists. Biondi rightfully takes some 'license' inherent in such Baroque music to put his stamp of Italian panache on it. His creative tweaks, imaginative rubato, and aria-like lyricism keep the music lively with slight, unexpected nuances of expression. Sucn an individualistic style as Biondi's can really be considered within the spirit of the Baroque virtuoistic tradition where the soloist was expected to add his/her special touches. Indeed embellishments such as the highly percussive textures the Galante strings brings in certain movements add a fresh drama and creativity to this music.

Vivaldi's Op. 8 was one of his "program music" experiments that brought him great success, and such music is designed to be pictoral, suggestive and above all expressive - all of which Fabio Biondi and the Europa Galante rise to do with vivacious style yet retaining sensible musical taste (no hyper-speed version here). Biondi's dynamic, expressive approach is perfect for Vivaldi and such theatrical music as this and comes off quite remarkable and enjoyable. With his period violin he achieves a highly-expressive, even anguished vocal quality as seen in Autumn finale, the Summer slow movement or the Winter allegro. But no movement is more mesmerizing and alluring than his aria-like solo in the Winter Largo - depicting the contented feeling of "one musing by the warm fire as the rain and snow fall outside." Biondi at his lyrical best. Some movements feature a more forward harpsichord accompanyment - almost as if it is striving to be recognized as co-soloist. Personally, I liked this aspect of the conducting and especially the rich sound of the instrument which added a nice contrast to the string solos - although it will not be to the taste of some.

Yet, Biondi's style is not quite technically flawless and - at times - can lack a smooth progression and unity with the ensemble. In certain parts of the music, Biondi can often favor an over-emphasised style or speed over substance - sacraficing clarity and precision in some of the 32nd-note passages. In some of these passages (such as 20 seconds into the dramatic rising scales of the closing presto of Summer), whole measures of notes were not articulated but seemingly glossed over. I am not sure of the reason for this approach to that exciting part of the movement. It is one of a few places where his technique sounds a bit "on the edge." But, in Biondi's favor, perhaps it is better to risk a little and live on the edge than to remain safe and mundane in such spirited music as this. Regardless, Biondi's playing is always alive and imaginative.

This CD features all of Vivaldi's Op. 8 concertos (which The Four Seasons being only part) and thus makes a great, non-duplicating collection of Vivaldi's concertos from Biondi/Europa Galante along with their separate and equally-exciting CD's of "L'estro Armonica" and "le Tempesta di Mara." There is another CD from Virgin featuring the Four Seasons by Biondi and the Galante along with a sampling of these other CD's mentioned above of you want to expand your horizons beyond Op. 8 on one CD. Penguin, Gramophone and Third Ear Guides all like and recommend Biondi's/Galante's several CD's of Vivaldi's concertos including this one for their spontaneous and imaginative take. But there are many fine recordings of this marvelous work (including those by Simon Standage/English Concert, I Musici, Kennedy or S. Accardo). But, Biondi's spirited performance here might just allow your imagination to run a little more vividly as Vivaldi seemed to expect in such thematic, imagery-rich music as this.

This is simply one of the most phenomenal performances of Vivaldi's Four Seasons. The other concertos are also very well done. Viva Vivaldi, Viva Fabio Biondi, and Viva Europa Galante!

As many times as I have heard Vivaldi's Four Seasons, I have never heard such passion and drama clearly conveyed in the music. Fabio Biondi managed to unearth spirit, communication, and patterns most of us had never discovered. I was fortunate enough to see this orchestra perform yesterday evening, and joined the audience in six standing ovations. The violinists played whilst standing, swaying passionately, interacting with one another, and echoing the movements of nature. Sheer Brilliance, which is all conveyed in the recording. The performance of Corelli is enchanting, and crisp. Any classical music listener, new or long-standing, will be amazed by the intelligence of these performers and their interpretation. If it is at all possible to see a live performance, you will remember it for the rest of your life. Buy this CD, and share it with others.

I will not say much about the performance of the SEASONS as others have already done so. Suffice to say that this is one of the essential versions in that it brilliantly realizes the "mannerist" pictorial spirit of the work. For vitality, imagination, and excitement, this is a rendition that, for many listeners, will beat all others hands down.

I would like to comment more extensively on the remaining eight concertos in the set. Generally speaking, the works in Vivaldi's published opuses represent the best of his achievements. Especially noteworthy in Opus 8 are three non-titled concertos: no. 7 in D minor, suffused with aristocratic reserve and melancholy; no. 8 in G minor, with a soulful largo inspired by the polyphonic chorale style; and the theatrically brilliant no. 11 in D major. Then there are two concertos, in D minor and C major, which Vivaldi specified could be played either on oboe or violin; here they are performed on the latter instrument, and I can't blame Biondi for wanting it that way. Of the three pictorial or programmatic works, "La tempesta di mare" and "La caccia" are musically rather insubstantial noise-pieces, while "Il piacere" is a nice evocation of the idea of pleasure which approaches the airy GALANT style.

The violin Fabio Biondi uses here has a fuller sound than the one he used on his version of L'ESTRO ARMONICO (also on Virgin Veritas), and he also avoids many of the fussy eccentricities that marred that recording. I would argue with the speedy tempo taken for the first movement of no. 11 (this seems out of keeping with the imitative texture), but as always with Europa Galante the interpretations are passionate and authoritative, and the recorded sound is crystal-clear. I have a feeling, after listening to this CD, that the Europa Galante way of approaching Italian baroque music will eventually become the standard.

This is the best preformance of the Four seasons I have ever heard. The tempo for all of the movements are just right. Some other versions are way too heavy,Dragging and slow. In this version they have truly captured the joyfulness of spring, the energy of summer, The harvest and hunt of fall, And the cruelty of winter.
Also,The soloist shows off amazing virtueostic techniqe. He also has very lyrical passages where he just makes the intrument sigh. I may be just a kid but I love classical music and I know what I'm talking about when I say BUY THIS CD.

Those who wish to hear (again ?) a good version of the 4 seasons cannot go wrong with this recording.
Those who like the rest of the concertos or have never heard them cannot go wrong either.
Those who have heard Biondi's Estro Armonico and enjoyed it immensely will find more of the same here.
The concertos I like most, nos. 7, 8, 9, 11, have never sounded any better. *Especially* the latter. You must purchase this recording, even more so if you know these works by heart (prepare to be surprised). Very good recorded sound: never-heard viola or second violin parts "surface" here. Rich, rewarding continuo. Two CDs for the price of one thanks to Virgin Classics.
Next stop, La Stravaganza perhaps, yes ? We wants it, my precious.