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A Galant Evening with Europa Galante Hong Kong
Hong Kong City Hall Concert Hall, Central
11/09/2008 -
Antonio Vivaldi: Sinfonia in C from “La Senna Festeggiante” – Concerto for Violin and Strings in A Minor, RV357, “La Stravaganza”, Op. 4, No. 4 – The Four Seasons, Op. 8, No. 1 to 4
Henry Purcell: Suite in D Minor from “Abdelazer, or che Moor's Revenge”
Europa Galante, Fabio Biondi (violin & director)
Europa Galante (© All rights reserved)
Europa Galante, founded by Fabio Biondi in 1990, is well-known for its spirited interpretations of Baroque and early music. ‘Galante’ is actually a term widely used during the 18th century to describe music with lightly accompanied, periodic melodies, and the appropriate manner of performing the same. French Enlightenment writer and philosopher Voltaire wrote, ‘Being galant, in general, means seeking to please’. On Sunday evening, the 14-member period ensemble brought us a pleasant and joyful performance, demonstrating their idiosyncratic, though authentic, understanding to Baroque performance practice.
Europa Galante was natively attuned to Baroque music from their heads to their feet, with shoulder rest-less violins, pin-less cello, baroque bows, bass lute, and needless to say, harpsichord. In the first half – in which they delivered Vivaldi’s Sinfonia and Concerto in A minor, and Purcell’s Suite – Biondi directed his musicians as a concertmaster. The players demonstrated the most intimate rapport and total involvement at every moment by their communicative eye gaze, facial expression, and the sameness of breath and body language. Biondi’s one slight gestural cue could lead to huge effect on music’s dynamics, articulation, and rubato, which was often found at the final cadences of each movement and recitative-style solo passages. Although there was a slightly flubbed entrance in the third movement of Vivaldi’s A-minor Concerto, it was soon adjusted by Biondi’s commanding leadership. This A-minor Concerto entitled “La Stravaganza” was a full display of Biondi’s virtuosity. The arm-blurring tremolos, florid ornaments, and flying scales in solo passages were all rendered with utmost dexterity and clarity. But this solid virtuoso never aimed at showing off his technique; rather, all these were at service of music.
The Four Seasons in the second half was a thoughtful and characterful reading, with unique bowing, phrasing, self-arranged ornaments and transitions. They all possessed the kind of rarity that only Europa Galante has. Biondi and his players showed little interest in rendering refined articulation and polished phrases. Instead, they focused on the affection of each movement. The rugged Bartok-like down-bows in Spring’s second movement, rural hunt in Autumn’s third, rough-edged but lively largo from Winter, all brought to surface Vivaldi’s spirit behind the score. Biondi played the work from memory, with his back facing the audience in tutti and turning around in solo passages. Unlike most ‘modern’ interpretations, in which the violin solo’s tone far overshadows the orchestra, Europa Galante emphasized a harmonious balance among the parts. Even the main melodies on the harpsichord could be heard clearly by other parts playing the minimal pianissimo. My one minor reservation to this otherwise superb performance was their careful and lengthy tuning in between each concerto, which slightly interrupted the flow of music. All the attendees certified their excellence with the most honest and enthusiastic applause. Two short encores brought this Galant evening to an end. When I walked out the concert hall, people were already lining up into snake, waiting for Biondi’s autographs.
Europa Galante’s website
Danny Kim-Nam Hui
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