Vivaldi - Il cimento dell'armonia e dell'inventione / Europa Galante, Biondi

Editorial Reviews
Amazon.com
Another Four Seasons, but this one shoots to the top of the list. Fabio Biondi's imaginative playing is full of spunk and vigor, delineating Vivaldi's scene-painting without overdoing it. His band matches him with rhythmic vitality; this is one Vivaldi set that holds your interest from start to finish.

In his program notes, Biondi explains the use of the "Manchester" manuscript of the Four Seasons, which was closer to the composer's intentions than editions published later, and he discusses the manuscript sources for the other works. The Four Seasons are the first four concertos of Vivaldi's Opus 8 set of a dozen, titled Il cimento dell'armonia e dell'inventione (The Trial of Harmony and Invention). The others may not share the Seasons' popularity, but they're of comparable excellence, especially in performances as exciting as these. First-rate sound, close-up and immediate, underscores the vibrancy of the performances. Biondi's 1991 Four Seasons on Opus 111 is still in the catalog, but this one scores because Virgin includes the complete Opus 8 on two discs for the price of one. --Dan Davis

Tracks:

The Four Seasons: Con No.1 in E 'La Primavera', RV 269: I. Allegro
The Four Seasons: Con No.1 in E 'La Primavera', RV 269: II. Largo
The Four Seasons: Con No.1 in E 'La Primavera', RV 269: III. Allegro
The Four Seasons: Con No.2 in g 'L'estate', RV 315: I. Allegro Non Molto
The Four Seasons: Con No.2 in g 'L'estate', RV 315: II. Adagio - Presto
The Four Seasons: Con No.2 in g 'L'estate', RV 315: III. Presto
The Four Seasons: Con No.3 in F 'L'autunno', RV 293: I. Allegro
The Four Seasons: Con No.3 in F 'L'autunno', RV 293: II. Adagio - Presto
The Four Seasons: Con No.3 in F 'L'autunno', RV 293: III. Allegro
The Four Seasons: Con No.4 in f 'L'inverno', RV 297: I. Allegro Non Molto
The Four Seasons: Con No.4 in f 'L'inverno', RV 297: II. Largo
The Four Seasons: Con No.4 in f 'L'inverno', RV 297: III. Allegro
Con No.5 in E flat 'La Tempesta Di Mare', RV 253: I. Presto
Con No.5 in E flat 'La Tempesta Di Mare', RV 253: II. Largo
Con No.5 in E flat 'La Tempesta Di Mare', RV 253: III. Presto
Con No.7 in d, RV 242: I. Allegro
Con No.7 in d, RV 242: II. Largo
Con No.7 in d, RV 242: III. Allegro

Tracks:

Con No.11 in D, RV 210: I. Allegro
Con No.11 in D, RV 210: II. Largo
Con No.11 in D, RV 210: III. Allegro
Con No.10 in B flat 'La Caccia', RV 362: I. Allegro Assai
Con No.10 in B flat 'La Caccia', RV 362: II. Adagio
Con No.10 in B flat 'La Caccia', RV 362: III. Allegro
Con No.9 in d, RV 236: I. Allegro
Con No.9 in d, RV 236: II. Adagio
Con No.9 in d, RV 236: III. Allegro
Con No.8 in g, RV 332: I. Allegro
Con No.8 in g, RV 332: II. Largo
Con No.8 in g, RV 332: III. Allegro
Con No.6 in C, 'Il Piacere', RV 180: I. Allegro
Con No.6 in C, 'Il Piacere', RV 180: II. Largo
Con No.6 in C, 'Il Piacere', RV 180: III. Allegro
Con No.12 in C, RV 178: I. Allegro
Con No.12 in C, RV 178: II. Largo
Con No.12 in C, RV 178: III. Allegro

Amazon.com

Another Four Seasons, but this one shoots to the top of the list. Fabio Biondi's imaginative playing is full of spunk and vigor, delineating Vivaldi's scene-painting without overdoing it. His band matches him with rhythmic vitality; this is one Vivaldi set that holds your interest from start to finish.

In his program notes, Biondi explains the use of the "Manchester" manuscript of the Four Seasons, which was closer to the composer's intentions than editions published later, and he discusses the manuscript sources for the other works. The Four Seasons are the first four concertos of Vivaldi's Opus 8 set of a dozen, titled Il cimento dell'armonia e dell'inventione (The Trial of Harmony and Invention). The others may not share the Seasons' popularity, but they're of comparable excellence, especially in performances as exciting as these. First-rate sound, close-up and immediate, underscores the vibrancy of the performances. Biondi's 1991 Four Seasons on Opus 111 is still in the catalog, but this one scores because Virgin includes the complete Opus 8 on two discs for the price of one. --Dan Davis

Customer Reviews:

Exceptional Playing .......2007-07-12

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.

Barock'n'roll.......2007-01-19

Truly swinging and joyfull playing by Europa Galante and Biondi. Perhaps not truthfull to original partitur but very exciting and dramatic. Excelent sound!

The Gold Standard for Vivaldi .......2006-08-18

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.

Not your momma's Four Seasons .......2006-04-12

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 and 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 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.

WOW.......2005-12-09

This recording left me stunned and speechless. Every bar makes for fascinating listening, and the frequent surges of adrenalin must be heard to be believed. What's most remarkable is that we've all heard these works 80 million times. I would name highlights, but there are too many. Bravo, Biondi! Have these guys recorded the Brandenburgs? If not, I hope they do soon.

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