About this Artist

• Biography

Editorial Reviews

In little more than a decade's time, Fabio Biondi has established himself as one of the world's foremost interpreters of Baroque literature, both as violinist and conductor, and Biondi's group, Europa Galante, fits him like a glove. In Vivaldi, whose status has risen from complete obscurity in the 1920s to that of one of the hottest dead white men in the classical music biz, Biondi knows no peer. So why in blazes would he want to record Mozart?

Pick a reason from the following: Mozart moves units, whole festivals are built around Mozart that represent a good opportunity for a group like Biondi's, Virgin asked him to, he personally likes Mozart's music; any of these reasons or yet more will do. If Virgin Classics' Mozart: Violin Concertos 1-3 helps keep Biondi in violin strings and pays the bills, that is great, more power to it. Biondi's Mozart is very gutty, gritty, and rustic, and in the case of the first movement Allegro moderato from the "Violin Concerto No. 2 in D, K. 211," this is not such a bad thing, as this particular movement has something of a country-dance flavor to it. Nevertheless, transparency of texture in Mozart is not an accident; nineteenth century practice tended to sweeten and pretty up Mozart's music too much, whereas these performances transform his claret into red wine vinegar. This is not to say that some listeners might not go for this approach in a big way; indeed, if Mozart's name were not above the title, this would be an entirely enjoyable experience as a performance of period orchestral music. In this case, though, the period Biondi is interpreting is the wrong one for the approach that he is utilizing, which makes his Mozart: Violin Concertos 1-3 a hard one to recommend, as well done as it is from the standpoint of playing and recording quality alone. Uncle Dave Lewis, All Music Guide

Customer Reviews

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