VIVALDI Violin Concertos / Carmignola, Marcon


5 Violinkonzerte
5 Violin Concertos
Giuliano Carmignola
Venice Baroque Orchestra
Andrea Marcon
Int. Release 02 May. 2006
1 CD / Download
0289 477 6005 4
ARCHIV Produktion
Giuliano Carmignola pioneers unrecorded repertoire with a new album of unknown, world-premiere Vivaldi Concertos

Track List

Antonio Vivaldi (1678 - 1741)
Concerto for Violin, Strings and Harpsichord in G minor, R. 331

Concerto for Violin, Strings and Harpsichord in C, R. 190

Concerto for Violin, Strings and Harpsichord in G minor, R. 325

Concerto for Violin, Strings and Harpsichord in D, R. 217


Concerto for Violin, Strings and Harpsichord in G, R. 303


Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon

Total Playing Time 57:50

Carmignola finds wit in the first, and tenderness in the second, all articulated through subtle rubato which grows naturally out of the music. And he¿s admirably partnered by the orchestra, which phrases sensitively, and knows when to attack the music, and when to be more yielding. The recording is bright and detailed, and it¿s especially good to hear the inner workings of the imaginative continuo playing: the lute in the slow movement of RV 190 is a particular delight, with its effortless elegance counterpointing Carmignola's flexible melodic line, a hallmark of his slow movements. And there¿s more flexibility in the cadenzas, where Carmignola finds a truly improvisatory character coupled with virtuosity. That virtuosity also informs the fireworks of Vivaldi¿s prestos and allegros -- but Carmignola always allows time in his rubato for the music to speak. A sparkling issue.

Carmignola discovers the poetry in Vivaldi's music with greater fantasy and less contrivance than any other Baroque violinist that I can think of. And, somewhat bucking the all too prevalent trend nowadays, he avoids anything in the nature of expressive gimmicks and of playing to the gallery . . . Seldom if ever have I felt such expressive tenderness in slow movements ¿ those of the G minor Concert (RV331) and the C major (RV190), the last mentioned ornamented with restrained sensibility and impeccable taste, offer sublime instances of what I mean ¿ as Carmignola communicates . . . In summary, in the unlikely and unbearable event of my being allowed to possess only one disc of Vivaldi's violin concertos, then it would be this beautifully recorded one . . . Bravissimo, Signor, and thank you.

Poignancy and grace . . . characterise each and every slow movement. The simple ornamentation on descending scales in the Largo from RV 217 is expressed with prayerful incantation. Best of all, Carmignola has unlocked the secret to a coherent, pleasing use of vibrato in authentically correct performance. Combined with the best bow arm in the business and a tremendous sense for sound production, it should function as the prototype for all period players. The engineering wizards at Deutsche Grammophon succeed in brining the master close to the masses. A celebration in every sense of the word.

His publicity material calls him `The Prince of Baroque violinists¿ and here Carmignola indeed plays like a blue-blood aristocrat. Grace, poise and style are the order of the day, and not only in terms of technique. A sense of perfect balance extends to mood. By the end, you feel richly satisfied . . . the performances . . . are as purringly beautiful as ever from these artists. Carmignola dashes around Vivaldi¿s scampering passagework and giant leaps with an easy control and consistency of good tone, and the Venice Baroque Orchestra are worthy partners ¿ their surging rivers of sound in the finale of RV 325 give a real thrill . . . it is . . . hard to find anything to fault in these Rolls-Royce performances.

. . . there's no shortage of drama and dazzling virtuosity on display in these five concertos . . . Carmignola never disappoints . . . there's so much passion and fire in the execution . . . performer and composer seem so compatible, everything seems so right ¿ the quick and furious runs, the gritty spiccato, the blink-of-an-eye ornaments, the beguiling singing in the slow movements, the bowing that sounds absolutely enchanted, flying at impossible speed above and across the strings ¿ that you have to believe that you've never really heard Vivaldi before. Aided and abetted by Andrea Marcon and one of the world's top Baroque-period orchestras (the precision, energy, and vibrant sound of this ensemble is a marvel all its own), not to mention the clear, you-are-there sonics, Carmignola offers yet another reason to revisit and reconsider this prolific and oft-maligned composer, who at best was a genius, and at other times was nothing less than a consummate master of idiom and technique, especially regarding the violin: no one wrote more outlandish, outrageously challenging, audience-pleasing music for that instrument, and no one is better suited to show off its attributes than Carmignola.

Giuliano Carmignola is a knock-out: his use of the technique known as spiccato, bouncing the bow off the string, has to be heard to be believed. Treat yourself!

Elastisch, herb und fein schwingt sich sein Violinton durch die Vivaldi-Konzerte seines neuen Albums mit fünf Weltersteinspielungen.

Wieder stellen Giuliano Carmignola und Andrea Marcon hier fünf Violinkonzerte des "prete rosso" vor, die noch nie eingespielt wurden, und wieder überraschen sie nicht nur durch ihr kultiviertes Barock-Spiel, ihre nuancenreiche Interpretation und ihr musikalisches Temperament, sondern zeigen auch, wie vielseitig, überraschungsreich und originell Vivaldi die Mittel seiner Zeit in seinen Konzerten variierte.

Zweifellos wird das spontane, frische und beherzte Spiel des Venice Baroque Orchestra unter Andrea Marcon jeden begeistern. Zweifellos wird das virtuose Spiel des wohl besten italienischen Barockgeigers Giuliano Carmignola jeden faszinieren. ... Ist es nicht in den fünf Largos, wo man den Atem hält und in pure Verzückung versinkt? Auch wenn man den Facettenreichtum in Carmignolas Spiel nicht genügend loben kann, auch wenn seine technischen Fähigkeiten mitreißen, auch wenn das Spiel von Solist und Orchester in den Ecksätzen von ansteckender Lebensfreude ist, so sind es doch die introvertierten Mittelsätze, die für mich die Höhepunkte dieser absolut empfehlenswerten CD darstellen.

Seine jüngste Ausgrabung umfasst fünf Concerti, die auf Tonträger bisher noch nicht greifbar waren: Werke von geradezu opernhafter Dramatik, die in ihrem Wechselspiel der Stimmungen und Ausdruckswelten Carmignolas affektgeladenem Musizierstil in idealer Weise entsprechen. Man ist beeindruckt zu hören, mit welch atemberaubendem Impetus dieser Teufelsgeiger historischen Musizierens die druckvollen Ecksätze zu durchdringen, wie beiläufig er die hochartistischen Ornamente und Appoggiaturen unterzubringen weiss und wie berückend intensiv er sein obertonreiches Instrument in den Larghi der Mittelsätze zum Klingen und Blühen bringt. Schablonenhaft wirkt das erstaunlicherweise nie, auch wenn dieser energiegeladene, bis in die letzte Faser der Bespannung greifende Sound längst zu seinem Markenzeichen geworden ist. Das Venice Baroque Orchestra spiegelt des Meisters Intentionen reaktionsschnell und mit messerscharfer Artikulation. Engagiertere Anwälte seines Schaffens hätte sich der "prete rosso" wahrlich nicht wünschen können.

Le vivaldien d'aujourd'hui croit, lui, le connaître par c¿ur. Prudence. Il n'a pas encore tout entendu . . . le divin Giuliano nous convie à chevaucher deux périodes stylistiques dont la confrontation fait tout le sel du présent récital . . . L'archet le plus racé et le plus gracieux révélant, sous la plus plébéienne des plumes vénitiennes, l'aristocratie du c¿ur . . . L'approche de Marcon se révèle, comme toujours, infiniment subtile, conduisant un Venice Baroque Orchestra à son zénith.

Le soliste . . . paraît . . . intégré à l'ensemble, permettant de beaux dialogue . . . le violon solo reste savoureux . . .

. . . feeling meraviglioso . . . lega Giuliano Carmignola e la Venice Baroque Orchestra diretta da Andrea Marcon ad Antonio Vivaldi . . . La resa dei musicisti è frizzante ed entusiasmante come sempre. . . . il violinista . . . ancora una volta ci incanta con la bellezza del timbro del suo strumento, con l'eleganza della sua cantabilità e con la sua impeccabile destrezza tecnica.