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34 of 34 found the following review helpful:
 Study in ColorMar 25, 2006
By Dr. Christopher Coleman
Admittedly I bought this CD because it was the only recording of RV 558 that I could find in Hong kong. This is one of the most bizarre concerti grosso that has ever been composed; it is scored for 2 violini in trombe marina, 2 recorders, 2 mandolins, 2 chalemeaux, 2 theorbos and cello, in addition to strings and continuo (performed here on harpsichord). Clearly Vivaldi wanted to make a splash with this piece and he threw in everything in the back closet; the alternation of tone colors is really amazing.
A word about these instruments, working backwards. The theorbo is an obsolete but astonishingly lovely member of the lute family; it's something like a cross between a harp (with 8 unfretted bass strings that can sound only a single note) and a twelve string guitar (with 6 pairs of fretted strings) but pitched low--the upper two strings are not considerably higher than the two strings below them, which makes for ease of fingering but limits the upper range. The chalemeaux are precursors of the clarinet and are aurally difficult to distinguish from their progeny. Mandolins are plucked/strummed stringed instruments with 4 pairs of strings tuned like a violin, and these instruments were most likely played by violinists. The violins in trombe marina are somewhat controversial; Europa Galante come down firmly on the side of the score that these are essentially regular violins fixed with an asymmetric bridge which causes a sort of buzzing or rattling sound rather similar to the buzziness of the harpsichord, oddly enough, and which was thought to imitate the sound of the obsolete and incredibly bizarre tromba marina. But other scholars have argued that the parts were meant for performance on actual trombe marina. The "Sea Trumpet" was in fact a stringed instrument thought to sound like a trumpet but be more agile (trumpets in those times did not have valves and so had a very limited pitch choice--they were essentially bugles.). It has only a single melodic string, rather long, but up to 50 strings that resonate with sympathetic vibration with the melodic string. To make things even more curious, only harmonics were played on the instrument, throwing the intonation of certain pitches completely out of the norm. The tromba marina gets its name in part because it was said to be heard best at a distance, as over a body of water. I can testify that this is true--it's really a hideous sound that you wouldn't want to hear close up, something like a viola being scratched against a chalkboard. It's hard for me to believe that Vivaldi really composed this piece not just for one tromba marina, but for two; beyond the horror of the noise lies the fact that the parts probably aren't even close to possible on the tromba marina, but lie perfectly well on the violin.
At any rate, the piece is about color in a way that probably no one other than Bach conceived of for a very long time. And herein lies my complaint (a minor one); the performance is lovely, but I sometimes find the harpsichord overwhelming. It's especially difficult to hear the theorbos--they're so low; and to distinguish the violins in trombe marina sometimes--they match the harpsichord sound too much. Granted, in the Concerto RV 555, the two harpsichords are solo instruments and should be treated as such. But how RV 558 would flourish with less harpsichord--it would be such a treat.
At any rate, these are all delightful pieces, really some of Vivaldi at his best if you're tired of the Four Seasons, and certainly worthwhile performances.
34 of 35 found the following review helpful:
Vivaldi and Europa Galante Make a Joyful NoiseApr 27, 2004
As all reviewers on this page seem to agree, the first order of business is to jettison the old saw that Vivaldi wrote the same concerto 500 times. Certainly he can be faulted, as he always will, for falling back on too-obvious formulae (those oft-cited repeated sequences of his), but as for sounding alike: Just try the jovial, gallant first movement of RV 425 for solo mandolin and follow it with the somber, near-tragic opening of RV 319 for violin, oboes, and bassoon. Next, give RV 558 a spin; how different the grand, heroic sweep of this first movement! Now that we've disposed of the chestnut about the sameness of the concerti, we can talk about the performances of Biondi and Europa Galante. I find them enthrallingly virtuosic in the Bach-like noodlings required of the two violins and two cellos in RV 564, a truly captivating work reminiscent, for me, of the Third Brandenburg. On the other hand, Biondi captures perfectly the sober mood of RV 319, where sentiment overrules virtuosity. The two concertos for mandolins (RV 532 and RV 425) are some of Vivaldi's most genial, and they emerge with the right sense of dash and wit, while the two concerti RV 558 and RV 555 for "molti strumenti" make a grand noise, especially those raspy, rattling violini in tromba marina! On the other hand, the recorders, chalumeaux, theorbos, and cellos add a tenderness and grace in their solos that balance out the acerbity of these strange instruments. RV 555 increases the stereophonic effects with two harpsichords and with three violins against two viole all'inglese and the aforementioned cellos. In all, it's a remarkable sound world Vivaldi created in these two works, like nothing else in the concerto literature, and the virtuosi of Europa Galante make the music sound every bit as important as it should. The recording, made in a church, is both close-up and highly reverberant, which takes a little getting used to, but once the ear adjusts, it reveals the dividends paid by the close miking. The solos all emerge with crystal clarity and timbral purity, while the ensemble playing is detailed and analytical without being clinical, thanks to that reverb. Though the recording tends to highlight the high end of things, it is probably true to the big, bright sound picture Vivaldi "saw" when he conducted his all-girl orchestra at the Ospedale della Pieta. An exciting CD indeed.
16 of 18 found the following review helpful:
Who says baroque stuff can't be electrifying?Jan 13, 2004
By Louis Lee
This is one of the most encouraging and exciting discs in 2002! After a few hours of Vivaldi listening, one often gets the impression that he spinned out new concerti by applying the same formula - they all sound vaguely the same, after all. Vivaldi fatigue I call it. That's all the more why we need a disc like this: Biondi and his superb Europa Galante show that Vivaldi concerti can be full of surprises and excitement, and extremely colourful writings. These are readings of high drama and strong emotions, it's hard to imagine anybody not moved by the sheer energy level and dedication. Concerto RV 576 gets a superb airing especially.
6 of 6 found the following review helpful:
Viva Vivaldi!Dec 02, 2008
By Morten Fuglestad
This is the perfect CD to counter Strawinski's dead-pan remark that Vivaldi just wrote one concerto 500 times.
Of course Igor was right in a sense. It hasn't been untill the last 25 years or so that a clear image of Vivaldi's versatile genious has emerged.
This is a Vivaldi CD that has everything to it. The nearest compeditor is perhaps Trevor Pinnock's excellent recording on ARCHIV, which also features the two mandoline concerti and the Concerto "con molti strumenti" in C major.
Fabio Biondi and his Europa Galante however offers an even more imaginative playing. The G minor concerto for the Saxon Court (RV 576) for violin, 2 recorders, 3 oboes and bassoon has a spellbinding intensity to it. The tutti "gusto barbarico" unisono passages reminds one of Zelenka and Pisendel in their most threatening, masculine concertos.
You will also get to hear several magnificient solos from the Maestro himself. Biondi is perhaps on his most moving and poetical in the G minor concerto dedicated to Johann Georg Pisendel (RV 319). The first movement quotes a Salve Regina (RV 618).
The mandoline concerti bustles with motives of song birds and war-like stretto passages (especially the one for solo mandoline (RV 425). The pure magnetical shimmer of the mandoline above the pizzicati strings in RV 425 in the slow second movement is also most movingly conveyed of Giovanni Scaramuzzino.
This is a must have for all lovers of good music!
2 of 2 found the following review helpful:
Love it!May 20, 2011
By Ponytail
Dazzling! If you love Vivaldi, this is him at his best, and played with a professional and enthusiastic sound. It's great.
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