L'Europa Galante est un ensemble instrumental italien de musique baroque. L'ensemble sur scène à Cracovie en 2010. Créé en 1990 par le violoniste Fabio Biondi, l'orchestre joue sur des instruments anciens ou des copies d'instruments anciens, ce qui donne un timbre particulier à ses interprétations. Comme Fabio Biondi son chef, la formation est spécialisée dans la musique baroque italienne et notamment celle de Vivaldi.
Eblouissante et décapante version d'archives trouvées en Irlande d'un Vivaldi original ! C'est d'une vitalité incomparable, d'une pulsation festive, spontanée vivante et cependant d'une écriture fabuleusement truculente bien que savament travaillée, celle d'un orfèvre de la musique, que se soit l'Hiver , nous ressentons la brisure de la glace et tellement d'effets, c'est magique ! Cette version est le sommet de la musique classique profane et l'interprétation de Fabio Biondi son couronnement !. Viva Vivaldi le grand musicien de la joie de vivre et de l'invention contrapunctique qui nous introduit à Paganini et même au XX°s..
Whwn I first heard Biondi and Europa Galante in the early 90's on the Opus 111 label it was a truly electrifying experience. I had never heard Vivaldi played with such fervor and so full of life. I've been a fan ever since.
The group played the Four Seasons here in Guanajuato, Mexico about six years ago, and we've never been the same! What a passionate, renovation of a somewhat tired piece! Biondi is a genius, and I can never listen to any other version. This is surely what the Red Priest intended....they all seem to be really enjoying the work.
I beg to differ. Although this is a GREAT performance, I'd highly recommend that you listen to the rendition of "The English Concert" with Simon Standage and Trevor Pinnock as director. To my humble opinion - it may be the best ever. There are many parallel attributes to these two renditions, but you really should hear that.
This can be played at lesser tempos yes, but the 18 people who dislike this are probably envious violin players... Venezia was the World capital of excess and greatness. Biondi does recover it and is aware (and refers to it) of the self-indulgent virtuoso component that turns these pieces into the spectacle we see here.
Много добър прочит на Вивалди. Духът е запазен като автентичен такъв от създадтеля му. Постигнат е неговият ефект върху слушателската аудитория. Самият Вивалди е много интересен композитор и творбите му са постигнали високи успехи през вековете. Всеки оркестрант отлично знае, че е опасно да свири Вивалди, ако не го е усетил и разгадал правилно и няма техническите възможности да изпълни произведенията му. Поздравление на този оркестър и соло цигуларя, който едновременно е и диригента и солиста! Класа!
Actually filologically correct interpretations do change over the time and can be different from one another :) the concept of "correctenss" is discussed even by musicians and musicologist that, up to know, prefer to talk about "hyistorically informed" interpretations... we can't restore the past, it only was for the fact that even in the past there wasn't just "one" way to interpretation
I love the little dynamic and intonation changes Fabio incorporates. He really adds his own color to the pieces without destroying the overall baroque concept. I cringe hearing some versions of The Four Seasons, but this is magnificent. His version of the second movement of Autumn, which some audience member almost ruined by coughing, (26:31) just sounds so magical. Bow seems a bit tight though 😮
The accompanying poetry imo is a must for a full experience of this! La Primavera (Spring) Opus 8, No. 1, in E Major I. Allegro-- Festive Spring has arrived, The birds salute it with their happy song. And the brooks, caressed by little Zephyrs, Flow with a sweet murmur. The sky is covered with a black mantle, And thunder, and lightning, announce a storm. When they are silent, the birds Return to sing their lovely song. II. Largo e pianissimo sempre-- And in the meadow, rich with flowers, To the sweet murmur of leaves and plants, The goatherd sleeps, with his faithful dog at his side. III. Danza pastorale. Allegro-- To the festive sound of pastoral bagpipes, Dance nymphs and shepherds, At Spring's brilliant appearance. L'Estate (Summer) Opus 8, No. 2, in G minor I. Allegro non molto-- Under the heat of the burning summer sun, Languish man and flock; the pine is parched. The cuckoo finds its voice, and suddenly, The turtledove and goldfinch sing. A gentle breeze blows, But suddenly, the north wind appears. The shepherd weeps because, overhead, Lies the fierce storm, and his destiny. II. Adagio; Presto-- His tired limbs are deprived of rest By his fear of lightning and fierce thunder, And by furious swarms of flies and hornets. III. Presto-- Alas, how just are his fears, Thunder and lightening fill the Heavens, and the hail Slices the tops of the corn and other grain. L'Autunno (Autumn) Opus 8, No. 3, in F Major I. Allegro-- [19:37] The peasants celebrate with dance and song, The joy of a rich harvest. And, full of Bacchus's liquor, They finish their celebration with sleep. II. Adagio molto-- [24:30] Each peasant ceases his dance and song. The mild air gives pleasure, And the season invites many To enjoy a sweet slumber. III. Allegro-- [27:10] The hunters, at the break of dawn, go to the hunt. With horns, guns, and dogs they are off, The beast flees, and they follow its trail. Already fearful and exhausted by the great noise, Of guns and dogs, and wounded, The exhausted beast tries to flee, but dies. L'Inverno (Winter) Opus 8, No. 4, in F minor I. Allegro non molto-- [30:41] Frozen and trembling in the icy snow, In the severe blast of the horrible wind, As we run, we constantly stamp our feet, And our teeth chatter in the cold. II. Largo-- [34:10] To spend happy and quiet days near the fire, While, outside, the rain soaks hundreds. III. Allegro-- [36:10] We walk on the ice with slow steps, And tread carefully, for fear of falling. Symphony, If we go quickly, we slip and fall to the ground. Again we run on the ice, Until it cracks and opens. We hear, from closed doors, Sirocco, Boreas, and all the winds in battle. This is winter, but it brings joy. Copied from /sharlottesymphony.org
Who did say that hard rock is a XXth century invention ? Listen to the concerto "The Summer" ! E' la miglior interpretazione delle 4 stagioni ! Si ! Sono totalmente d'accordo ! Merci Europa Galante !
A Thought on Tempo @Carlos below, left the following comment: "Why do all HIP recordings of the four seasons have the 2nd movement of Spring ridiculously fast? There seems to be this notion that playing something historically accurately means playing it twice as fast." I must agree with Carlos. This is probably the most passionate-driven version of the piece I have ever come across so far, and perhaps the best in the sense it forces the listener to be fully engaged. But the tempos are way too fast all throughout. Much musical information is skimmed through and replaced by nuances and changes according to Biondi's whims, which are pretty good, and even fascinating. This has become a totally different piece of music - it is not the pastoral composition Vivaldi wrote in accordance to Italy's seasons (namely Mantua's breathtaking countryside), rather a modern arrangement, similar to Glen Gould's provocative yet fascinating interpretations of Bach's fugues. I believe our sense of time today is totally contrary to that of the past, so to our ears, quicker is more accessible. Our ear has less patience and we don't like to take our time, the tempo of life has become more instant. We are less in tune with nature and the natural evolving of time. We travel faster and information is instant, conversation is one dimensional, book reading is growing scarce and so our music grows in tension. This piece was an observation on nature - and Biondi turns it around to portrait only a single dimensional image of the character of nature life.
@nejiki1 this performance may sound strange to you, because you are used to listen to more "modern" interpretations of Vivaldi compositions. But Biondi plays a philologically strict interpretation of baroque music, and using moreover original instruments. He plays usually these violins: a violin by Gofredo Cappa, (1690) and a violin by Carlo Ferdinando Gagliano (1766)
+fatboyto And he freely interprets the music, as all musicians did, until the 20th Century. Is the score a scripture to be properly repeated, instead of emotionally played by a talented musician? Biondi says no, and plays each damn piece to death. His reward has been tremendous success both within the community and with the record labels and audiences.
First of all, at that time, those instruments were new. Second, I've never heard a Beethoven symphony played with instruments that are no more able to substain tuning for 10 minutes; this mode happens only with the barocco and always behind the excuse of philological interpretation. I would say, physiological, because nowhere is written, as an example, timing of velocity. So fast that nobody is able to catch singular notes in the ear. I am used to listen who respects baroque and knows it: unknown ensamble like I musici and Solisti Veneti.
I am also one of big fan of him. He might be strict about music but is not so strict about his instruments. He does not use a typical baroque violin, but famous old ones which were modernised with long necks just like a modern violin.
Although I bought the CD many years ago, as soon as it came, and although I really love this rendition - I still think the version of "The English Concert" with Simon Standage and Trevor Pinnock - is definitely better.
Le quattro stagioni dirette ed eseguite da biondi sfruttano soltanto lo staccoritmivo di vivaldi Ascoltate la perfetta esecuzione barocca di Carmignola unica ed inimitabile
Why do all HIP recordings of the four seasons have the 2nd movement of Spring ridiculously fast? There seems to be this notion that playing something historically accurately means playing it twice as fast.
Io ancora non mi capacito. Al primo passaggio davvero difficile (violino solista con BC) verso 2:30 due note mangiate e una stecca. E iniziamo bene. Poi, sono saltato all'inverno primo movimento prima della pioggia (pizzicato dell'andante). Ma che è??? Rumore? Io non capisco questo narcisismo autoreferenziato, se non si sentono le note perché deve, deve e deve andare veloce, allora c'è qualcosa che non va. Una nota poi sull'andante dell'inverno. Il basso continuo sta suonando musica rock. Della pioggia (citata nel sonetto dimstrativo) non c'è traccia. Davvero una versione orribile e narcisista. Non capisco perché ci siano orchestre che massacrano in questa maniera il barocco. Per rifarmi le orecchie con chi sa suonare: ruclips.net/video/HmlP6PVYKKo/видео.html
Never. Dell 'aura susurrar is a choir movement from the opera Dorilla in Tempe. It is the same melody of La Primavera (I Allegro) but not in Le Quattro Stagioni (book of 4 Violin Concertos).
twosweethounds....fast can be nice sometimes....but the 2nd movement of "winter" should never be that fast....not for me anyway!....maria samuelson still does the best 4 seasons ever for me, but i like this version very much as well...nigel kennedy started the whole vivaldi thing going really, many moons ago!!...i think it's great when an artist plays his own version....vivaldi's music is so beautiful it lends itself to individual interpretation perfectly without losing anything!...cheers from doug... [an old but still kinda young fart!!!]...ps...however, i think in general, many fabulous concertos by other composers & big name violinists, are spoiled by far too fast a tempo....even if the notes are all there!!...including & especially heifetz!!
The tempo is actually accurate for ancient/barroque music style. Just because Karajan liked it slow and neat back in the day doesn't mean it's technically correct or accurate at all.
You can like it or not, but one cannot speak of "accuracy" when it comes to Baroque tempi. While there are many discussions of tempi in historical treatises, what they actually correspond to in specific numbers is entirely speculative. What was considered "correct" in the 50s or 70s or 90s may no longer be trendy, but it is no more--or less--"accurate."
There were no studies or whatsoever back in those days. When we talk about accuracy we mean how it was done back in the day, and recent research and analysis is what has led these new performers to play early music the way they do, and that was just not at all what XX century directors overall did. Just take Biondi's ornamentation on this version of the four seasons and it is simply unmatched by any old school recording, ornaments are just what the four seasons is all about and no one not even Karajan did a decent work there because the score does not note ornaments, a usual trend on baroque music. On very rare occasions ornaments needed notation they were implicitly obvious you just had to ornament and it was left to the performers to se what they did there, which is what Biondi and his ensemble did. Without that it is worthless it's like if someone takes a real book sheet on some jazz piece and just sees the main theme and some chords noted and plays just that. What you get is not jazz but the least of things you should've done when playing jazz which is just play the theme and do not improvise at all because it's not on the score lol.
En el invierno falla como una escopetilla de feria. Si quereis ver una de las mejores interpretaciones, para mi gusto es la de Clara-Jumi Kang. 100% recomendada.
Clara-Jumi Kang no me gusta mucho ... Biondi es muy bueno, es mas sentimental no veo que falle tanto como tu dices, de lo mas feo que he escuchado es solisti di zagreb
The tempo would be ok if they could handle it but the notes are slipping out of grasp in fast passages too often. There is no subtle variation in touch here. The randomly injected rubato is the most indulgent, counter-intuitive thing about the performance. The most confusing thing-why bother to use period instruments if you’re going for a neo-romantic/prog-rock interpretation? Seriously, just bring out electric instruments and use wah-pedals, forget percussive playing, just add a percussion section. It would make more sense. This just sounds totally confused.
¡Tengo los oídos enamorados de esta magnífica ejecución! ❤
lief, he?! FIREEE MAGIC (:
L'Europa Galante est un ensemble instrumental italien de musique baroque.
L'ensemble sur scène à Cracovie en 2010.
Créé en 1990 par le violoniste Fabio Biondi, l'orchestre joue sur des instruments anciens ou des copies d'instruments anciens, ce qui donne un timbre particulier à ses interprétations. Comme Fabio Biondi son chef, la formation est spécialisée dans la musique baroque italienne et notamment celle de Vivaldi.
日本の中学の音楽の教科書に載っていました。
改めて聞くと、その鳥肌の立つような美しさに驚かされます。
夏、強い日射しにぐったりした人々や家畜の様子。鳴り始める遠雷。夏の恐るべき稲妻や雹が麦の穂を折り、穀物を打ち倒す情景！
日本と同様、国土が南北に長く、四季のはっきりしたイタリアで、『夏』だけは私たちの想像する明るいイメージとかけ離れています。
われわれの知る四季とは違う激しさ…… 私はこの異国の情緒を感じられる『夏』が1番好きです。
He has the best Four Seasons' performance that I've ever heard!
I Agree!
This is Ba-ROCK!!!
So funny 😐
Yes absolutely!
Of Course
thx, dude LOL
Outstanding daring performance. Chapeau
Lei solo sente o sa anche Ascoltare?!?! 🤔
hats oofffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff to the maESTRoooooooo (:
Eblouissante et décapante version d'archives trouvées en Irlande d'un Vivaldi original ! C'est d'une vitalité incomparable, d'une pulsation festive, spontanée vivante et cependant d'une écriture fabuleusement truculente bien que savament travaillée, celle d'un orfèvre de la musique, que se soit l'Hiver , nous ressentons la brisure de la glace et tellement d'effets, c'est magique ! Cette version est le sommet de la musique classique profane et l'interprétation de Fabio Biondi son couronnement !.
Viva Vivaldi le grand musicien de la joie de vivre et de l'invention contrapunctique qui nous introduit à Paganini et même au XX°s..
collAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAB heritage collaaaab L.O.V.E.
Whwn I first heard Biondi and Europa Galante in the early 90's on the Opus 111 label it was a truly electrifying experience. I had never heard Vivaldi played with such fervor and so full of life. I've been a fan ever since.
The group played the Four Seasons here in Guanajuato, Mexico about six years ago, and we've never been the same! What a passionate, renovation of a somewhat tired piece! Biondi is a genius, and I can never listen to any other version. This is surely what the Red Priest intended....they all seem to be really enjoying the work.
Bravo! Ben detto! Sono proprio d'accordo!
Really the best Vivaldi "Four Seasons" interpretation ! It rocks. Buy the CD.
AGREED. DA. BESTE.!(:
Interpretazione ELETTRIZZANTE! SUPER!!!
Grazie! Che splendore!
❤sensationnel mais quel maitrisepour le violon encore bravo
❤sensationnel violoniste fabio bondit bravo❤
FABYO BANDITTOOOOOOOOOOOOOOO (: L.O.V.E.
Last week,I went to the Europ Galante concert at sapporo Japan.
It was so brilliant!
I've got goosebumps.
Thankyou so much Galante !
Awesome! Europa Galante and Fabio Biondi's performance was fantastic! The cellist is my father!
Lorenzo Fantinuoli great player indeed!
They were two cellists, not juste one. Maurizio Naddeo was so one of a kind. :)
Aaah! Complimenti a tuo padre!
this is one of the most beautiful things I've ever heard
Best perfomence of the four seasons ever , well achieved Europa Gallante !
I beg to differ. Although this is a GREAT performance, I'd highly recommend that you listen to the rendition of "The English Concert" with Simon Standage and Trevor Pinnock as director. To my humble opinion - it may be the best ever. There are many parallel attributes to these two renditions, but you really should hear that.
This can be played at lesser tempos yes, but the 18 people who dislike this are probably envious violin players... Venezia was the World capital of excess and greatness. Biondi does recover it and is aware (and refers to it) of the self-indulgent virtuoso component that turns these pieces into the spectacle we see here.
Много добър прочит на Вивалди. Духът е запазен като автентичен такъв от създадтеля му. Постигнат е неговият ефект върху слушателската аудитория. Самият Вивалди е много интересен композитор и творбите му са постигнали високи успехи през вековете. Всеки оркестрант отлично знае, че е опасно да свири Вивалди, ако не го е усетил и разгадал правилно и няма техническите възможности да изпълни произведенията му. Поздравление на този оркестър и соло цигуларя, който едновременно е и диригента и солиста! Класа!
이 무지치와는 달리 활력과 자유분방함이 느껴집니다.
Fantastic performance from virtuosos Very creative approach by Fabio Biondi to the limits .
와 이감동을 이제서야 알게되다니
제가 알던 사계와는 너무다르고 격정적이네요
Impressive! Loveable vivaldi passion in this composition😍
Fantastic, the best Vivaldi interpretation around. I love Europa Galante!
Actually this is "just" filologically correct. The most of interpretations you can listen at, are romantic ones.
Actually filologically correct interpretations do change over the time and can be different from one another :) the concept of "correctenss" is discussed even by musicians and musicologist that, up to know, prefer to talk about "hyistorically informed" interpretations... we can't restore the past, it only was for the fact that even in the past there wasn't just "one" way to interpretation
I love the little dynamic and intonation changes Fabio incorporates. He really adds his own color to the pieces without destroying the overall baroque concept. I cringe hearing some versions of The Four Seasons, but this is magnificent. His version of the second movement of Autumn, which some audience member almost ruined by coughing, (26:31) just sounds so magical.
Bow seems a bit tight though 😮
They use baroque bows which have different curves than modern bows.
대박이다. 이렇게 격정적이고 풍부한 비발디 사계는 들어본적이 없는데. 역시나 비온디와 에우로파 갈란테구나
E' la miglior interpretazione delle 4 stagioni! Europa Galante è la migliore tra le orchestre barocche
Le interpretazioni musicali di Biondi le trovo anch'io molto originali e mi piacciono veramente molto.
2 concerts pour le prix d'un. Un de musique classique... l'autre de toussements.
❤❤❤ The best!
Absolutely beautiful. Love baroque music amazing, awesome and wonderful music 🎶 to my ears 🎻🎺🎷🎹🎼also excellent and superb performance
The accompanying poetry imo is a must for a full experience of this!
La Primavera (Spring)
Opus 8, No. 1, in E Major
I. Allegro--
Festive Spring has arrived,
The birds salute it with their happy song.
And the brooks, caressed by little Zephyrs,
Flow with a sweet murmur.
The sky is covered with a black mantle,
And thunder, and lightning, announce a storm.
When they are silent, the birds
Return to sing their lovely song.
II. Largo e pianissimo sempre--
And in the meadow, rich with flowers,
To the sweet murmur of leaves and plants,
The goatherd sleeps, with his faithful dog at his side.
III. Danza pastorale. Allegro--
To the festive sound of pastoral bagpipes,
Dance nymphs and shepherds,
At Spring's brilliant appearance.
L'Estate (Summer)
Opus 8, No. 2, in G minor
I. Allegro non molto--
Under the heat of the burning summer sun,
Languish man and flock; the pine is parched.
The cuckoo finds its voice, and suddenly,
The turtledove and goldfinch sing.
A gentle breeze blows,
But suddenly, the north wind appears.
The shepherd weeps because, overhead,
Lies the fierce storm, and his destiny.
II. Adagio; Presto--
His tired limbs are deprived of rest
By his fear of lightning and fierce thunder,
And by furious swarms of flies and hornets.
III. Presto--
Alas, how just are his fears,
Thunder and lightening fill the Heavens, and the hail
Slices the tops of the corn and other grain.
L'Autunno (Autumn)
Opus 8, No. 3, in F Major
I. Allegro-- [19:37]
The peasants celebrate with dance and song,
The joy of a rich harvest.
And, full of Bacchus's liquor,
They finish their celebration with sleep.
II. Adagio molto-- [24:30]
Each peasant ceases his dance and song.
The mild air gives pleasure,
And the season invites many
To enjoy a sweet slumber.
III. Allegro-- [27:10]
The hunters, at the break of dawn, go to the hunt.
With horns, guns, and dogs they are off,
The beast flees, and they follow its trail.
Already fearful and exhausted by the great noise,
Of guns and dogs, and wounded,
The exhausted beast tries to flee, but dies.
L'Inverno (Winter)
Opus 8, No. 4, in F minor
I. Allegro non molto-- [30:41]
Frozen and trembling in the icy snow,
In the severe blast of the horrible wind,
As we run, we constantly stamp our feet,
And our teeth chatter in the cold.
II. Largo-- [34:10]
To spend happy and quiet days near the fire,
While, outside, the rain soaks hundreds.
III. Allegro-- [36:10]
We walk on the ice with slow steps,
And tread carefully, for fear of falling.
Symphony, If we go quickly, we slip and fall to the ground.
Again we run on the ice,
Until it cracks and opens.
We hear, from closed doors,
Sirocco, Boreas, and all the winds in battle.
This is winter, but it brings joy.
Copied from /sharlottesymphony.org
Génialissime !
Wonderful performance! Biondi is the best!
Amazing Fabio Biondi. Thanks for sharing.
Alchimia immensa 🌟 ♾️🌞👏👏👏👏
Demolition!!! Amazing!!!
Spring, 2.Satz: Der beste Hund nach Mutter. Herrlich!
Oeuvre éternelle dans une interprétation de grande qualité.
BRAVO!!!!!!!!❤⚘️
UAL, LINDO DEMAIS!!!!
Vivaldi
SPRING:
0:30 march
3:52 April
5:45 may
SUMMER:
9:30 June
14:59 July
16:43 august
AUTUMN:
19:37 September
24:23 October
27:13 November
WINTER:
30:40 December
34:05 January
36:10 February
Biondi is the greatest!
At Summer 3rd movement,He made the technique of God!
Que maravilha de interpretação! Música imortal! Bravíssimo!
27:03 Audience: “Yay! They paused for a bit! We can get the coughing over with!!!”
Magnifique!!!
Europa Galante rocks! In a Renaissance-Classical sort of way.
Exactamente. Desde que lo escuché por primera vez, para mí este era un Vivaldi rockero.
HUUUUGEEEE!!!! THIS IS CLASSICAL PERFORMANCE FINALLY !!!!
¡Fantástico!
Una verdadera belleza!
Who did say that hard rock is a XXth century invention ? Listen to the concerto "The Summer" !
E' la miglior interpretazione delle 4 stagioni ! Si ! Sono totalmente d'accordo !
Merci Europa Galante !
this is life
Interprétation très originale très plaisante!
une merveille de plus à l'actif de biondi
Outstanding.
16:40 - The best part!
Absolutely agree
Probably.....
Presto from Summer is one of my least favorites, but it’s one of the most popular 🙄 All of Winter is just magnificent though
0:30 , 16:40 , 34:08 , 34:08 .
Truly the best!
A Thought on Tempo
@Carlos below, left the following comment: "Why do all HIP recordings of the four seasons have the 2nd movement of Spring ridiculously fast? There seems to be this notion that playing something historically accurately means playing it twice as fast."
I must agree with Carlos. This is probably the most passionate-driven version of the piece I have ever come across so far, and perhaps the best in the sense it forces the listener to be fully engaged. But the tempos are way too fast all throughout. Much musical information is skimmed through and replaced by nuances and changes according to Biondi's whims, which are pretty good, and even fascinating. This has become a totally different piece of music - it is not the pastoral composition Vivaldi wrote in accordance to Italy's seasons (namely Mantua's breathtaking countryside), rather a modern arrangement, similar to Glen Gould's provocative yet fascinating interpretations of Bach's fugues. I believe our sense of time today is totally contrary to that of the past, so to our ears, quicker is more accessible. Our ear has less patience and we don't like to take our time, the tempo of life has become more instant. We are less in tune with nature and the natural evolving of time. We travel faster and information is instant, conversation is one dimensional, book reading is growing scarce and so our music grows in tension. This piece was an observation on nature - and Biondi turns it around to portrait only a single dimensional image of the character of nature life.
@nejiki1 this performance may sound strange to you, because you are used to listen to more "modern" interpretations of Vivaldi compositions. But Biondi plays a philologically strict interpretation of baroque music, and using moreover original instruments. He plays usually these violins: a violin by Gofredo Cappa, (1690) and a violin by Carlo Ferdinando Gagliano (1766)
+fatboyto And he freely interprets the music, as all musicians did, until the 20th Century. Is the score a scripture to be properly repeated, instead of emotionally played by a talented musician? Biondi says no, and plays each damn piece to death. His reward has been tremendous success both within the community and with the record labels and audiences.
First of all, at that time, those instruments were new. Second, I've never heard a Beethoven symphony played with instruments that are no more able to substain tuning for 10 minutes; this mode happens only with the barocco and always behind the excuse of philological interpretation. I would say, physiological, because nowhere is written, as an example, timing of velocity. So fast that nobody is able to catch singular notes in the ear. I am used to listen who respects baroque and knows it: unknown ensamble like I musici and Solisti Veneti.
As far as i think Fabio has shown the best image of Vivaldi-self!
I am also one of big fan of him. He might be strict about music but is not so strict about his instruments. He does not use a typical baroque violin, but famous old ones which were modernised with long necks just like a modern violin.
Просто Божественно! Гениально. Браво!!!!!!!
This one goes hard o.0
Can't listen to others after this one.
(why does my comment sound like clickbait tho xD)
Bravo!!!!!
quelle classe ! quelle noblesse ! j'adore !
Excelente !!!
Una pietra miliare, inarrivabile.
C'est si beau!
extraordinario!!!!!!!
I have seen better....in my dreams. THIS is absolutely amazing perfection!
Very good and great performance!
however i thought the harpsichord and viola were a lit bit too loud sometimes
+Alexandra Amaral agreed, the performance is outstanding but the recording and mixing arent doing it any justice.
Although I bought the CD many years ago, as soon as it came, and although I really love this rendition - I still think the version of "The English Concert" with Simon Standage and Trevor Pinnock - is definitely better.
This is the Manchester manuscript version? Vivaldi made notes on performance in it IIRC? Spectacular performances.
Le quattro stagioni dirette ed eseguite da biondi sfruttano soltanto lo staccoritmivo di vivaldi Ascoltate la perfetta esecuzione barocca di Carmignola unica ed inimitabile
Bei Minute 32:07 klingt die Geige etwas betrunken.
Epic
I wonder in the time of Vivaldi was the music ever played this fast? What metronome marking was the norm?
Metronomes hadn't been invented yet
What we Do know is that he was a violin Virtuoso as well as his father who taught him.
15 thumbs down = 15 Hymns to incompetence!
Életemben nem hallottam még arról, hogy 38 perc alatt "lefutották" a Négy évszakot :)
16:42
Whaaaaat
Why do all HIP recordings of the four seasons have the 2nd movement of Spring ridiculously fast? There seems to be this notion that playing something historically accurately means playing it twice as fast.
From a certain angle Fabio Biondi looks like Lars von Trier
Why do people in concerts have to cough so much and so loudly?
Exactly!!
Supert violoniste fabio bondi quelle matrise 😂
16:00
What harpsichord is it?
US CRAZY LATINOS, HE?!. (:
Velocidad, una meta que les jugó en contra a la hora de las precisión.
this is too fast bros
Una fanfarria atropellada en aras de rizar el rizo del virtuosismo que invalida toda la dulce poesía de esta partitura.
Io ancora non mi capacito. Al primo passaggio davvero difficile (violino solista con BC) verso 2:30 due note mangiate e una stecca. E iniziamo bene. Poi, sono saltato all'inverno primo movimento prima della pioggia (pizzicato dell'andante). Ma che è??? Rumore? Io non capisco questo narcisismo autoreferenziato, se non si sentono le note perché deve, deve e deve andare veloce, allora c'è qualcosa che non va. Una nota poi sull'andante dell'inverno. Il basso continuo sta suonando musica rock. Della pioggia (citata nel sonetto dimstrativo) non c'è traccia. Davvero una versione orribile e narcisista. Non capisco perché ci siano orchestre che massacrano in questa maniera il barocco. Per rifarmi le orecchie con chi sa suonare: ruclips.net/video/HmlP6PVYKKo/видео.html
when do they start singing !?
Never. Dell 'aura susurrar is a choir movement from the opera Dorilla in Tempe. It is the same melody of La Primavera (I Allegro) but not in Le Quattro Stagioni (book of 4 Violin Concertos).
HA HA HA, du bist so lustig.
That’s why classical music is so boring usually.. because it’s 0,001% of classical musicians that can groove it . That was apocalypse!!
Call me an old fart, but his tempi are nuts. Just because he can play that fast doesn't mean he should.
twosweethounds....fast can be nice sometimes....but the 2nd movement of "winter" should never be that fast....not for me anyway!....maria samuelson
still does the best 4 seasons ever for me, but i like this version very much as well...nigel kennedy started the whole vivaldi thing going really, many moons ago!!...i think it's great when an artist plays his own version....vivaldi's music is so beautiful it lends itself to individual interpretation perfectly without losing anything!...cheers from doug... [an old but still kinda young fart!!!]...ps...however, i think in general, many fabulous concertos by other composers & big name violinists, are spoiled by far too fast a tempo....even if the notes are all there!!...including & especially heifetz!!
The tempo is actually accurate for ancient/barroque music style. Just because Karajan liked it slow and neat back in the day doesn't mean it's technically correct or accurate at all.
You can like it or not, but one cannot speak of "accuracy" when it comes to Baroque tempi. While there are many discussions of tempi in historical treatises, what they actually correspond to in specific numbers is entirely speculative. What was considered "correct" in the 50s or 70s or 90s may no longer be trendy, but it is no more--or less--"accurate."
There were no studies or whatsoever back in those days. When we talk about accuracy we mean how it was done back in the day, and recent research and analysis is what has led these new performers to play early music the way they do, and that was just not at all what XX century directors overall did.
Just take Biondi's ornamentation on this version of the four seasons and it is simply unmatched by any old school recording, ornaments are just what the four seasons is all about and no one not even Karajan did a decent work there because the score does not note ornaments, a usual trend on baroque music. On very rare occasions ornaments needed notation they were implicitly obvious you just had to ornament and it was left to the performers to se what they did there, which is what Biondi and his ensemble did. Without that it is worthless it's like if someone takes a real book sheet on some jazz piece and just sees the main theme and some chords noted and plays just that. What you get is not jazz but the least of things you should've done when playing jazz which is just play the theme and do not improvise at all because it's not on the score lol.
Octavio A la torre
Best comment i have ever read on this mattter.
Enlightening example. Thanks.
Vivaldi on weed .
En el invierno falla como una escopetilla de feria. Si quereis ver una de las mejores interpretaciones, para mi gusto es la de Clara-Jumi Kang. 100% recomendada.
Clara-Jumi Kang no me gusta mucho ... Biondi es muy bueno, es mas sentimental no veo que falle tanto como tu dices, de lo mas feo que he escuchado es solisti di zagreb
The tempo would be ok if they could handle it but the notes are slipping out of grasp in fast passages too often. There is no subtle variation in touch here. The randomly injected rubato is the most indulgent, counter-intuitive thing about the performance. The most confusing thing-why bother to use period instruments if you’re going for a neo-romantic/prog-rock interpretation? Seriously, just bring out electric instruments and use wah-pedals, forget percussive playing, just add a percussion section. It would make more sense. This just sounds totally confused.
I like what you wrote but I find the reinterpretation of classics with changing of the tempo very exciting and relaxing.
как то коряво звучит, как будто тупо в ноты не попадают
I did not enjoy this... Horrible performance imo.
Horrible.
Vivaldi
SPRING:
0:30 march
3:52 April
5:45 may
SUMMER:
9:30 June
14:59 July
16:43 august
AUTUMN:
19:37 September
24:23 October
27:13 November
WINTER:
30:40 December
34:05 January
36:10 February
Grazie.
uuuu educational passion, THANK YOU (: