This disc is really something special. Collectors are so spoiled for choice in the baroque repertoire at present, particularly on period instruments, but even in a glutted market this disc stands out for imaginative repertoire selection and outstanding interpretation. Its particularly gratifying, in these days of complete editions of everything, to see a discerning artist like Giuliano Carmignola choose four remarkably diverse works by three different composers, and simply play the living daylights out of them. The result roundly disproves the notion that Italian baroque violin concertos all sound the same, a point made even more forcefully by imaginative continuo work (on harpsichord, lute, and organ) by the Venice Baroque Orchestra that helps to emphasize each pieces individual character. The two Vivaldi concertos, for example, couldnt be more different.
Despite the popularity of works such as The Four Seasons and La Stravaganza, many of Vivaldi’s 250 concertos for violin remain largely unknown. The new recordings of the concertos RV 187 and 281 are based on Vivaldi’s original manuscript scores and capture the thrilling spontaneity of his compositional style. The concerto RV283 also includes a previously unpublished cadenza from the notebook of Vivaldi’s protégé Anna Maria. Very much a man of the 21st Century, Giuliano Carmignola combines his passion for the baroque with his love of motorcycling, which he calls, “Vivaldi con moto - motion and emotion from a MOTOcyclist-musician.”
Giovanni Battista Pergolesi had a tragically short career, living just 26 years, and producing most of his mature works over a period of about five years. This album includes three of the composer's most representative pieces. The most familiar is the 40-minute Stabat mater for soprano, alto, and orchestra, which was the most frequently published composition of the 18th century. This version, featuring soprano Rachel Harnisch and contralto Sara Mingardo, makes a splendid introduction to the work and should be of interest to anyone who loves this poignant music. …
by Stephen Eddins
In tandem with the “Vivaldian ardour” (International Record Review) of conductor-harpsichordist Andrea Marcon and his Venice Baroque Orchestra, violinist Giuliano Carmignola – “a wonderfully accomplished player” (Gramophone) – has raised the bar on recordings of the Venetian Baroque master. This 7-CD set contains many of Vivaldi’s most engaging concertos, enlivened with playing “full of character, energy and sensibility” (BBC Music Magazine) – including “a performance of the Four Seasons as fine as any” (ClassicsToday). It also features Carmignola and Marcon presenting the complete Bach Violin and Harpsichord Sonatas
Carmignola’s fiery and successful “Vivaldi con moto” is followed by a more subtle and traditional Bach Concerto recording, a Co-Production between Deutsche Grammophon and Deutschlandfunk. Carmignola and Concerto Koln bring new and outstanding colors into this often recorded repertoire, and their temperamental performance introduces a sparkling and thrilling interpretation of Bach’s concertos. Carmignola is a unique artist and one of today’s most charismatic and captivating violinists, prompting The Strad to say “Timing is everything, and Carmignola has the timing of Sinatra. Rubato, portamento, pauses, tight-rope showmanship.” For the Double Concerto, Carmignola is joined by Mayumi Hirasaki on the first violin.
It is important to note that these concertos were composed by Vivaldi (1678-1741) late in his career. Do not try to associate any type of chronology to the RV numbering of Vivaldi's works, as this numbering represents a simple cataloguing. You might be wondering, what makes a "late" Vivaldi concerto different from any other Vivaldi concerto…
This premiere recording of six Vivaldi concertos is full of surprises. The works are entirely unknown because, unlike his other compositions, they were written not for publication but for substantial private commissions from wealthy patrons. Dating from his most mature years, they exhibit a style very different from his earlier concertos, which often sound almost mass-produced. Though they are still cast in the customary three movements and are full of the usual sequences, they are more unpredictable, dramatic, and daring; adventurous in form, harmony, and texture; with sudden contrasts of mood, character, and expression. The slow movements are meltingly beautiful, but no two concertos are alike, either in detail or overall effect. Some movements hardly seem to hang together; they appear to consist of collages of motives, punctuated by bursts of virtuosity… –Edith Eisler