Search - Giuliano Carmignola :: Vivaldi: Nature Concertos

Early Carmignola

Tallanvor Martyne | Singapore | 01/20/2001

(5 out of 5 stars)

"This is Carmignola before his (current) hey-day, prior to his association with Marcon's Venice Baroque Orchestra. Strangely enough, I prefer his early temperament. The CD is examplary of everything a modern baroque ensemble should be like -- there are the Europa Galante-like dynamic shifts so sudden you'd swear just a second ago you were listening to a largo, not an allegro; lean, aggressive violins competing with a loud and insistent basso continuo; and of course, a sparkling first violinist. Carmignola here, on this CD, essentially surpasses his current form, mostly because he's nail-biting less about going off-tune and more concerned with actually playing. But the biggest credit must go to the ensemble, the Sonatori de la Gioisa Marca. They are incredibly lithe and responsive to Vivaldi's nuances, without either the heavy-handedness that sometimes accompanies a Europa Galante interpretation or the trademark over-the-top aggression of an Il Giardino Armonico, or even the ghastly uniformity of his current troupe. True, the performances here may sometimes lack a certain pinch of refinement or elegance. But that's a miniscule reservation.The sound is very good, slightly favouring the first violinist, as is common, but the harpsichord is almost equally prominent -- a very wise move by whoever the engineers are."

Delightfull Vivaldi

Ross Kennett | Narooma, NSW Australia | 05/22/2008

(5 out of 5 stars)

"Vivaldi: Nature Concertos



This is a delightfull performance of some of Vivaldi's best known concertos, but don't be put off if you already have most of them, baroque music is all about interpretation, much pleasure can be had from listening to different ones.

Here we have Giuliano Carmignola with Sonatori de la Gioiosa Marca. Carmignola was little known before his Concerto Veneziano with Venice Baroque in 2005, this recording was made in 1999, I only came across it a few weeks ago. So there is little need to further praise his skill with the violin, he sounds just as good here as in his later recordings. Sonatori is a period instrument group specialising in music of the early 18th century, in this recording only one instrument per part is used, this affords great clarity and also allows the basso to be clearly heard, i.e. it is not a case of " I think I can hear a lute in there ", you can hear every note.

The program consists of "nature concertos", sometimes called program music, that evokes rural scenes. Some of the concertos are usualy heard played on flute or recorder, but all work very well with violin solo. In some cases our 21st century ears do not hear a hunt, or see a shepherdess, but not to worry, just listen and enjoy.

The sound is excellent, the cover notes extensive, the performace superb. Five stars, no question.

"

Delightful

Doc Holliday | Great Northwest | 02/22/2010

(5 out of 5 stars)

"Last fall, I was listening to the local, classical radio station that was playing a Vivaldi piece, featuring Giuliano Carmignola. I was immediately impressed by his performance, and wanted to hear more. (Unexpectedly, I was surprised to learn that one Carmignola's teachers, besides his father, had been Nathan Milstein, my personal all-time, favorite violinist of Bach's unaccompanied, solo violin pieces and the Beethoven Violin Concerto.) This CD, with the Sonatori de la Gioiosa Marca ensemble was recorded in 1999 on the Erato label. The nature concertos performed on period instruments take the listener back to Venice in the early 18th Century, and truly, paint an artistic landscape. The performers render a wonderful sense of animated expression to Vivaldi's works, especially, in the first two pieces: "La Tempesta di Mare" and my favorite, "La Notte". Giuliano Carmignola went on to contract with Sony, and subsequently, record with the Venice Baroque Orchestra under Andrea Marcon. I did find the quality of the Sony recordings to be strikingly, clear and present, (no doubt, due to the advanced technology at Sony and recording engineer, Markus Heiland). For me, the result remains an aesthetic trade-off: the Erato recording creates more of the ensemble sound, closer to a live, period experience, while the Sony recording provides greater sonority, separation and clarity among the instruments. P.S. Vivaldi's concerto output was staggering, but don't miss his "La Stravaganza", Op. 4 and "L'estro Armonico" Op. 3."