BACH Violin Concertos / Carmignola



Violin Concertos
No. 1 BWV 1041 ˇ No. 2 BWV 1042

BWV 1052 ˇ BWV 1056
(Reconstructed after the Harpsichord Concertos)

Double Concerto BWV 1043
Giuliano Carmignola
Mayumi Hirasaki
Concerto Köln
Int. Release 03 Nov. 2014
1 CD / Download
0289 479 2695 5 CD DDD AH
ARCHIV Produktion

Track List

Johann Sebastian Bach (1685 - 1750)
Violin Concerto No.1 In A Minor, BWV 1041


Violin Concerto No.2 In E, BWV 1042



Giuliano Carmignola, Concerto Köln

Double Concerto For 2 Violins, Strings, And Continuo In D Minor, BWV 1043



Mayumi Hirasaki, Giuliano Carmignola, Concerto Köln

Concerto For Violin, Strings And Continuo In G Minor, BWV 1056 - Reconstruction


Concerto For Violin, Strings And Continuo In G Minor, BWV 1056 - Reconstruction


Concerto For Violin, Strings And Continuo In G Minor, BWV 1056 - Reconstruction


Concerto For Violin, Strings And Continuo In D Minor, BWV 1052 - Reconstruction


Concerto For Violin, Strings And Continuo In D Minor, BWV 1052 - Reconstruction


Concerto For Violin, Strings And Continuo In D Minor, BWV 1052 - Reconstruction


Giuliano Carmignola, Concerto Köln

Total Playing Time 1:13:17

Carmignola is on characteristically ebullient form, bringing sparkling virtuosity to Bach's outer movements while revelling in the poetry of the inner ones . . . Carmignola's linear control is well-sustained and expressive, as in the "Adagio" of the E major Concerto, BWV 1042 and the brooding "Adagio" of the D minor Concerto, BWV 1052R. These strengths serve well the melody of the sublime "Largo ma non tanto" of the D minor Concerto for two violins. Here Carmignola is partnered by Mayumi Hirasaki who plays first violin. Their fugal dialogue is even and clear with sensitive articulation . . . [any reservations] are outnumbered by the virtues, among which are a discreetly imaginative harpsichord continuo, incisive ensemble and a sympathetic recorded sound.

Carmignola is a man of his generation, choosing to work on Bach with one of the most versatile, pre-eminent and stylish of German ensembles . . . one can alight on the spaciousness of the playing, the robustness of rhythmic articulation and accentuation in the outer movements and the overall unfussiness in the spontaneous intensity of Carmignola's front-footed projection. Yet in the cool phraseology of the slow movements of both the A minor (BWV1041) and E major (BWV1042), more elegantly observational than intimate, a contemporary dialect prevails, most memorably in a sweetly flowing "Largo" from the great Double Concerto (BWV1043): the voicing of the solo parts, with Carmignola playing second, is a supremely distinguished essay in cultivated dovetailing and fresh dialogues . . . Carmignola's urgency never leaves the listener breathless; agreeable inflections, such as the portamentos in the last movement of the Double, provide welcome coloration . . . in the D minor Harpsichord Concerto (BWV1052 -- a more natural fit for a violin in the genre does not exist) . . . [Carmignola gives] a performance of visceral resonance and poetic engagement which has never been bettered.

. . . [Carmignola is] effectively transforming the German master into an Italian. Carmignola's slippery, virtuoso bowing and brisk fingering on the final movement effects a marvellous rejuvenation of the A minor concerto . . . [it's the "Adagio" of the E minor concerto] that most enchants, drawing one into a subtle whirlpool of quiet contemplation.

. . . a lively Baroque spirit, pacy, lithe of rhythm, lucid of texture . . . there is plenty of healthy animation in the instrumental lines.

. . . as fast and furious as things get, contrapuntal clarity is never lost, and in the slow movements he pours on an intensely lyrical quality that may also be unidiomatic, but will get to listeners if they let it. Carmignola is well supported by fine studio sound from the revived Archiv label, and in general this is the kind of album that gets points for sheer audacity.

Voici un disque superbe et qui réchauffe le coeur ŕ l'annonce des fętes de fin d'année . . . Au confluent des deux cultures baroques, l'allemande et l'italienne, mariant l'interprétation solaire de Giuliano Carmignola et la fougue presque théâtrale du Concerto Köln, il offre d'abord une splendide lecture des trois concertos bien connus de Bach, les BWV 1041 ŕ 1043 (pour ce dernier Carmignola cčde sa place au premier violon de l'orchestre, Mayumi Hirasaki, et tient la seconde partie). A la fois dansant dans les mouvements vifs et méditatif dans les adagios, l'archet inspiré de Carmignola restitue ces chefs d'oeuvre dans leur alliance inégalée de virtuosité et de profondeur ; il révčle avec beaucoup de finesse et de pertinence ce que l'écriture de Bach doit aux maîtres italiens qu'il a tant étudiés, copiés et transcrits. Mais le plus intéressant sans doute réside dans la (re) découverte des concertos BWV 1052 et 1056 dont on sait que la version pour clavecin qui nous est parvenue est en fait une transcription d'un original pour violon perdu. Avouons que la reconstruction de Marco Serino se révčle suffisamment astucieuse pour ętre crédible.