Farewell Concertos

Fabio Biondi is in the same league with Ms.Podger when it comes to Vivaldi. I am not classical music buff, as i only come to appreciate Baroque music in the last few years; all i know is Vivaldi sure makes working on saturday much eaiser. (kinda like babies who listen to Mozart, i guess)

Vivaldi has progressed some in this later work. Thoroughly enjoyable.

If you know and love Vivaldi, then you already know Fabio Biondi and you know there is no question that you have to have this. Vivaldi's late work is has a different and more varied feel to it. I've loved other recordings of the later works and this is spectacular selection. Bondi and Europa Galante NEVER disappoint. Indispensable for the Vivaldi fan!

Thanks!

Thanks Fabio.!!

Verified Purchase in the UKNote: This review is in two parts giving an optional initial background section intended for collectors followed by observations specifically about this particular recording which can be reached by simply scrolling down.1. Important background resumé as regards the solo violin concertos:Although it is probably common knowledge that Vivaldi, a virtuoso violinist himself, wrote more concertos for violin than any other instrument it may be a surprise to consider the quantity. His Op.3 set was, in effect, a musical visiting card and in it Vivaldi included 4 concertos for violin. However, two thirds of the twelve concertos featured more than one solo violinist. There were four for two soloists and four for four soloists. This was an impressive display of his composing abilities and was so successful that he had no need to include multiple soloists in the rest of his collected concertos – Opuses 4, 6, 8, 9 (both the autograph and published sets), 11 and 12.Collectors of the above sets, 3 – 12 in total, will have amassed 67 of Vivaldi’s solo violin concertos plus just 3 duplicates. There are also single discs of further solo concertos made with distinction by reputed experts in the field. Those include amongst others and in alphabetical order, Biondi, Casazza and Carmignola plus 5 Naïve discs in a series dedicated to the Turin Library concertos played by five separate soloists. This is not intended to be a definitive list but it would make for a reliable start.What may be surprising, and a clear tribute to the quality and variety of Vivaldi’s work, is that the 127 concertos chosen to be recorded on the 13 discs by the soloists listed in the previous paragraph only contain 9 duplicates. There are therefore another 118 different concertos to be added to the previous 67 in the collected works amounting to a staggering 185 single violin concertos available to collectors on current CD discs made by just these few artists. There are many more concertos not yet recorded!As a guide to collecting these numerous concertos it may also be worth considering that one of the most rewarding exponents of the collected works (opus 3 – 12) is also the most advantageously priced, featuring very recent recordings and making use of the latest research and editions. This would be the complete sets by Guglielmo. Beyond that, the 13 separate discs by the artists above, and including Biondi, would make for secure purchases.2. Considering Biondi’s new recording in the light of the above:This new set of the concertos entitled ‘Farewell Concerts’ and played by Biondi is certainly an excellent option for collectors. The title ‘Farewell Concerts’ is a little misleading as many of the solo violin concertos played by the other listed artists on the other discs are from Vivaldi’s ‘maturity’ and could equally be described in the same way. Otherwise readers will be assured that this is one of the 13 discs already included in the above.Nevertheless, a bill of sale dated 1741, the year of his death, identifies these particular works by writing out the opening figures as identification. Biondi makes it clear that other works, supposedly part of the same sale, are still missing. He also makers it clear that none of these six works create a unified set as intended with other groups of six and twelve concertos. They are therefore best thought of as separate and unrelated entities. The RV numbers are also clearly unrelated but that sort of variety also happens within other genuine sets.This recording was made in 2014 and features Biondi and the Europa Galante which, on this occasion, numbers 13 players. That is achieved by doubling parts unlike recordings by Guglielmo who sticks to one player per part and frequently numbering just 7 players.The engineering places the players fairly close to the listener but not so close as to lose a sense of space or ambience. It does give an illusion of a larger orchestral body and underlines the impact of the playing which at all times is immaculate. The supplied notes read easily and are fulsome in detail concerning the music and information about Biondi, his ensemble and their recording activities.Biondi’s playing is typically vigorous and immaculately accurate. His playing is often a touch more expressive than other soloists but that, on this occasion in particular, is appropriate as it fits Vivaldi’s late style which leaned more to a more expressive style coupled with more obvious solo virtuosity when compared with his earlier writing as in Op.3-4 for example.It is arguable that this impressive set might be considered as obligatory for those wishing to continue a state of the art Vivaldi collection offering superb performances based on secure research coupled with fine recordings.

We’re continually spoiled with new and ever-better releases that explore recently-uncovered Vivaldi concerti.Going back several decades, Fabio Biondi and Europa Galante released a number of fabulous, “take-no-prisoners” renditions of Vivaldi’s numbered opuses, as well as other titled concerti. More recently, they’ve turned their attention to Vivaldi’s later compositions. This release includes 6 such concerti, which were sold as part of a (presumably larger) group to a private patron, and currently reside in a Library in Brno. They reflect Vivaldi’s almost desperate attempt to support himself during his last and ultimately ill-fated trip to central Europe in 1741. Almost penniless because of his expensive opera productions, ignored and in failing health, Vivaldi died in Vienna in July 1741. Hence the title “Farewell concertos”.The concerti Vivaldi wrote for private patrons and/or skilled soloists, and in particular these late compositions, differ significantly from the often more programmatic concerti Vivaldi and his publishers included among the earlier, “numbered” opuses. The earlier concerti often aimed for a broader paying public and musically, focused on solving a particular technical problem or highlighting the skill of one of Vivaldi’s charges at the Ospedale della Pieta. They are accessible, but did tend to follow a certain formula. In contrast, these later concerti show a much greater degree of experimentation in form, tempi, color, and contrast. They are altogether more dramatic, and reflect the red Priest’s reaction to evolving competition among other Italian composers who had started to embrace compositional traits of the Galante period.These concerti are richly colorful, and present a natural avenue for the skills of Biondi and his crew. After listening to Europa Galante tackle the earlier “numbered” opuses, I always felt like he’d taken the musical equivalent of an old master painting and wiped all the grime and old varnish off, allowing the primary colors to shine through vibrantly. These later concerti have much less accumulated grime, and lend themselves perfectly to what Biondi and his band bring to the table. High sense of drama and virtuoso playing. A smashingly good release.If these later concerti appeal to you, you’ll also want to explore some of the releases on Sony by Giuliano Carmignola, who explored similar works gong on 15 years ago. He also brings a strong sense of drama and panache to the works. Plus, there is very little overlap between Biondi’s selected concerti and those on the earlier Carmignola CDs.The styles of these respective violin soloists differ, although both serve the music well. I am going to plagiarize another reviewer who articulated precisely my reactions to the differences between Biondi and Carmignola: “On the whole, Carmignola’s interpretations are more intensely expressive, while Biondi’s playing seems more acrobatic and “explosive”. I can’t choose a “winner”. (I certainly agree with that: but why choose between them? Buy them all!)Vivaldi enthusiasts may also want to explore the 4-CD collection of his concerto compositions discovered in Dresden, and released on Naxos. These too were written for very skilled soloists (e.g., Johann Georg Pisendel) and display many of the more innovative hallmarks of Vivaldi’s unpublished opus numbers.Lastly, if you haven’t heard the earlier, ground-breaking Vivaldi recordings by Europa Galante, these are still available on the Erato label. I highly recommend them.

Note: This review is in two parts giving an optional initial background section intended for collectors followed by observations specifically about this particular recording which can be reached by simply scrolling down.1. Important background resumé as regards the solo violin concertos:Although it is probably common knowledge that Vivaldi, a virtuoso violinist himself, wrote more concertos for violin than any other instrument it may be a surprise to consider the quantity. His Op.3 set was, in effect, a musical visiting card and in it Vivaldi included 4 concertos for violin. However, two thirds of the twelve concertos featured more than one solo violinist. There were four for two soloists and four for four soloists. This was an impressive display of his composing abilities and was so successful that he had no need to include multiple soloists in the rest of his collected concertos – Opuses 4, 6, 8, 9 (both the autograph and published sets), 11 and 12.Collectors of the above sets, 3 – 12 in total, will have amassed 67 of Vivaldi’s solo violin concertos plus just 3 duplicates. There are also single discs of further solo concertos made with distinction by reputed experts in the field. Those include amongst others and in alphabetical order, Biondi, Casazza and Carmignola plus 5 Naïve discs in a series dedicated to the Turin Library concertos played by five separate soloists. This is not intended to be a definitive list but it would make for a reliable start.What may be surprising, and a clear tribute to the quality and variety of Vivaldi’s work, is that the 127 concertos chosen to be recorded on the 13 discs by the soloists listed in the previous paragraph only contain 9 duplicates. There are therefore another 118 different concertos to be added to the previous 67 in the collected works amounting to a staggering 185 single violin concertos available to collectors on current CD discs made by just these few artists. There are many more concertos not yet recorded!As a guide to collecting these numerous concertos it may also be worth considering that one of the most rewarding exponents of the collected works (opus 3 – 12) is also the most advantageously priced, featuring very recent recordings and making use of the latest research and editions. This would be the complete sets by Guglielmo. Beyond that, the 13 separate discs by the artists above, and including Biondi, would make for secure purchases.2. Considering Biondi’s new recording in the light of the above:This new set of the concertos entitled ‘Farewell Concerts’ and played by Biondi is certainly an excellent option for collectors. The title ‘Farewell Concerts’ is a little misleading as many of the solo violin concertos played by the other listed artists on the other discs are from Vivaldi’s ‘maturity’ and could equally be described in the same way. Otherwise readers will be assured that this is one of the 13 discs already included in the above.Nevertheless, a bill of sale dated 1741, the year of his death, identifies these particular works by writing out the opening figures as identification. Biondi makes it clear that other works, supposedly part of the same sale, are still missing. He also makers it clear that none of these six works create a unified set as intended with other groups of six and twelve concertos. They are therefore best thought of as separate and unrelated entities. The RV numbers are also clearly unrelated but that sort of variety also happens within other genuine sets.This recording was made in 2014 and features Biondi and the Europa Galante which, on this occasion, numbers 13 players. That is achieved by doubling parts unlike recordings by Guglielmo who sticks to one player per part and frequently numbering just 7 players.The engineering places the players fairly close to the listener but not so close as to lose a sense of space or ambience. It does give an illusion of a larger orchestral body and underlines the impact of the playing which at all times is immaculate. The supplied notes read easily and are fulsome in detail concerning the music and information about Biondi, his ensemble and their recording activities.Biondi’s playing is typically vigorous and immaculately accurate. His playing is often a touch more expressive than other soloists but that, on this occasion in particular, is appropriate as it fits Vivaldi’s late style which leaned more to a more expressive style coupled with more obvious solo virtuosity when compared with his earlier writing as in Op.3-4 for example.It is arguable that this impressive set might be considered as obligatory for those wishing to continue a state of the art Vivaldi collection offering superb performances based on secure research coupled with fine recordings.

Quando si parla di Vivaldi pare che ormai non ci sia più nulla da scoprire nella miriade di concerti (spesso capolavori) per vari organici e strumenti solisti, a partire dal violino per proseguire col violoncello e vari strumenti a fiato (fagotto, flauto, ecc.). Eppure il notissimo violinista e direttore Fabio Biondi con il suo straordinario complesso Europa Galante ancora non finiscono di stupirci consegnando alle nostre orecchie questo cd che presenta gli ultimi concerti per violino ("dell'addio") del Prete Rosso prima di congedarsi (purtroppo) dal mondo nel 1741. Tutta musica "nuova" che io stesso, pur possedendo decine e decine di album vivaldiani di musica strumentale, non avevo ancora ascoltato. L'interpretazione di Biondi in particolare è una volta di più superlativa per maestria tecnica nei numerosi meravigliosi passaggi virtuosistici nei tempi veloci, ancor più volutamente messi in risalto in questa incisione, alternati a tempi lenti spesso malinconici ma stupendi (si tenga presente che ben due concerti, i primi della raccolta, sono in modo minore, tipico della mestizia e/o dell'agitazione). Audio e libretto sono all'altezza dell'incisione. In definitiva un disco da consigliare vivamente!

Cd ottimamente registrato e magistralmente eseguito.Una parte del repertorio vivaldiano sconosciuta ai più ma assolutamente "orecchiabile" anche per coloro che praticano poco la musica classica.Si ascoltano in modo assai gradevole e non sono mai banali. Un Vivaldi maturo, oramai vicino alla fine, che mette in campo tutta la propria esperienza di compositore...

grabacion de calidad.

des concertos très vivant ,passionnant et surtout très bien interprétés; Fabio Biondi est en grande forme , il joue de son violon à un niveau superlatif et pourtant ne commet aucune fautes de goût ; le biondi qui a parfois irrité ,n'est pas au rendez vous : seul le grand Vivaldien qu'il a été s'offre à nous.