“Vivaldi & Friends” Music of the Baroque reviewed by Julia W. Rath

In one of the best concerts of the season, maestro and violin virtuoso Fabio Biondi took charge of the Music of the Baroque Orchestra in a program consisting of music from Italian Baroque masters. Entitled “Vivaldi & Friends”, the music was centered around composers who inspired Vivaldi and those whom Vivaldi inspired. But its presentation revolved around the world-renown Biondi, whose artistry is without equal and whose fiery performance on solo/first violin could not have been any better.

The first thing that we noticed on stage was that, with the exception of the continuo, the musicians played their instruments while standing. This was a throwback to the era when Baroque music was first written, a time period when the violinist (i.e., concertmaster) used his bow and body movements to lead the orchestra.

Antonio Vivaldi’s Concerto for Strings in G Minor, RV 152 started out the program. The bright and beautiful Allegro molto was followed by a gorgeous combination of violin, viola, first cello, double bass, and harpsichord in the Andante molto movement, with the second Allegro molto very lively with lots of dynamics. This was followed by Giovanni Battista Sammartini’s Symphony No. 6 in F Major, with its Presto movement incorporating the pointedness of repeated measures and lots of runs in the concluding Allegro assai. Francesco Geminiani’s Concerto grosso in D Minor (La Follia) after Corelli, op. 5, no. 12 came next. The composition was made up of a theme and lots of variations. Biondi’s performance was amazing, and I especially loved the violin duet he played with Gina DiBello (now positioned so that she can face him, as compared to playing over his left shoulder). The variations were too many to count: some slow, some fast, some played staccato, some played legato, some in 4/4 time, some in 6/8 time, some duets, some with the introduction of the first cello (Callum Cook), some with more harpsichord (Stephen Alltop)—all fabulous.

Immediately after the Geminiani, Biondi took the microphone and provided the audience with an “alternative explanation” of music history, where he put the lives and musical traditions of these composers into perspective. Particularly interesting was his statement that each region on the Italian peninsula had its own distinct musical style before being consolidated into the nation-state of Italy. Biondi’s choice of program thus showcased composers from different regions, with a prime influence being that of Arcangelo Corelli. Thus, it was appropriate to close out the first half with Corelli’s Concerto grosso in B-flat Major, op. 6, no. 11. Played all in one, the composition features lovely melodies and flourishes plus exquisite solo violin (Biondi).

After the intermission, we heard Pietro Nardini’s Concerto for Violin in A Major, op. 1, no. 1. Now Biondi mostly faced the audience, as is typical in the staging of most concertos. Biondi’s solo with accompaniment in the opening Allegro section offered great technique and lots of arpeggios. The Adagio was full of grace notes and trills, with even more grace notes and sixteenth notes in the closing Allegro assai portion. The cadenzas in each movement were delightful, each one with growing complexity that highlighted Biondi’s technical proficiency.

The composition that followed was Vivaldi’s Concerto for 2 Violins in G Minor, RV 517, which brought Gina DiBello back to center stage to join Biondi. Their duets with continuo were stellar in the opening Allegro, plus the power of two. Harpsichord and cello are most notable in the Andante movement. Plus, the famous closing Allegro can serve as an example of how well Biondi cued the orchestra by sweeping his bow like a baton, moving his head, and using his body language. When this portion of the concert ended, Biondi and DiBello hugged, and he kissed her hand.

The small podium made its return for the final number: Gaetano Pugnani’s Sinfonia in B-flat Major. Also making its return during the opening Adagio section was the errant cell phone, whose ringing was not on key. What is interesting about this composition is that it starts out with an Adagio rather than the more traditional Allegro, and here the Allegro assai movement (which is the second movement) featured lots of dynamics and forcefulness. I particularly loved how Biondi cued the bass, using his bow like a spear. The closing Menuet featured a beautifully done viola solo (Elizabeth Hagen), not to mention the amusing ending with a Boomp!

Not only was Biondi phenomenal in playing violin while simultaneously conducting the orchestra, but it was impressive how well he brought lesser- known Baroque composers to the attention of an American audience. Bravo!