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Kamermuziek - Verschenen op 26 oktober 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 étoiles de Classica
During the course of a full career, which justly earned him the name of "prince of baroque violinists", Giuliano Carmignola developed a remarkable vision of Bach's works for solo violin. Carmignola, a student of Szeryng and Milstein, knows this repertoire inside and out, creating a feeling of spontaneity and improvisation while remaining closely faithful to Bach's writing. He uses a discreet but present vibrato beautifully (a far cry from some other baroque musicians who step much further back from the material), and he favours a free approach to rhythm and an expressive style that highlights all the colours and subtleties of Bach's phrasing. His playing is influenced by the historical techniques unearthed by modern musicology, but it is also profoundly original, lyrical, and moving. The three Sonatas and three Partitas date back to the 1720s, the era of the great instrumental masterworks known as the Brandeburg Concertos, the First Book of the Well-Tempered Clavier and the Cello Suites. The sonatas take the form of church sonatas – four movements, slow-fast-slow-fast – and the partitas borrow from the old-style dance suites in five, six or even eight movements. © SM/Qobuz
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Klassiek - Verschenen op 26 januari 2010 | Divox

Onderscheidingen The Qobuz Ideal Discography
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Klassiek - Verschenen op 8 december 2014 | Archiv Produktion

Hi-Res Booklet Onderscheidingen Diapason d'or
This release of Bach's well-explored violin concertos (plus a couple of arranged keyboard concertos) by Italian violinist Giuliano Carmignola delivers truth in advertising on its back cover: the violinist, playing a 1739 Guidantus and leading the historical-instrument ensemble Concerto Köln, "seems to cast fresh light on these much-loved masterpieces by imbuing them with all the joyfulness of his Venetian sound." What this means is that Bach is taken beyond even the vigorous Italian Vivaldi sound in vogue and into hoedown territory. It is absolutely something new and different, and it's hard to imagine Bach not being a bit startled by it. The fast movements are tumultuous and pushed to the edge in terms of tempo. Reactions to them will likely be entirely individual, and listeners might end up thinking that some of the concertos are enhanced or at least refracted in new directions by this approach, but that in others a certain Apollonian quality intrinsic to Bach is lost. Give Carmignola credit on a couple of counts: 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. © TiVo
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Klassiek - Verschenen op 12 maart 2013 | Archiv Produktion

Booklet Onderscheidingen 5 de Diapason
The trend in historical performances of Vivaldi's violin concertos has been to have the violinist serve as leader of the ensemble, as would likely have happened in Vivaldi's time. But Vivaldi's music, like Bach's, contains multitudes of ideas, and one way to look at the concertos, especially the late ones heard here, is to regard them as part, and indeed as a foundation, of the virtuoso tradition that grew up over the 18th century. That's the idea behind this recording, featuring violinist Giuliano Carmignola and the Accademia Bizantina under conductor Ottavio Dantone. All these musicians have recorded a good deal of Vivaldi before -- Carmignola was one of the mainstays of the Brilliant label's budget Vivaldi series -- but they produce something different as a team from what they accomplished individually. These concertos are all late works; one has never been recorded before, and two others are given in reconstructed versions. Dantone can deliver a good specimen of the high-octane way of playing Vivaldi that has become common among Italian historical-instrument groups, but here he selectively reins in the Accademia Bizantina in order to put Carmignola's exertions front and center and focus on the daring and innovative contrasts that are essential to Vivaldi's late style. And what exertions they are! In addition to the sheer speed of the finales and the presence of extravagant moments such as the three-octave scale in the cadenza used in the finale of the newly reconstructed Violin Concerto in F major, RV 283, there are such novel effect as a concerto (the Violin Concerto in D minor, RV 243) written entirely without the use of the E string. This is, in short, state-of-the-art Vivaldi, and a great deal of fun for listeners of any kind. Extra points for the fun pun in the album title. © TiVo
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Klassiek - Verschenen op 1 januari 2009 | Archiv Produktion

Booklet Onderscheidingen Choc de Classica
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Klassiek - Verschenen op 12 maart 2013 | Archiv Produktion

Hi-Res Booklet
The trend in historical performances of Vivaldi's violin concertos has been to have the violinist serve as leader of the ensemble, as would likely have happened in Vivaldi's time. But Vivaldi's music, like Bach's, contains multitudes of ideas, and one way to look at the concertos, especially the late ones heard here, is to regard them as part, and indeed as a foundation, of the virtuoso tradition that grew up over the 18th century. That's the idea behind this recording, featuring violinist Giuliano Carmignola and the Accademia Bizantina under conductor Ottavio Dantone. All these musicians have recorded a good deal of Vivaldi before -- Carmignola was one of the mainstays of the Brilliant label's budget Vivaldi series -- but they produce something different as a team from what they accomplished individually. These concertos are all late works; one has never been recorded before, and two others are given in reconstructed versions. Dantone can deliver a good specimen of the high-octane way of playing Vivaldi that has become common among Italian historical-instrument groups, but here he selectively reins in the Accademia Bizantina in order to put Carmignola's exertions front and center and focus on the daring and innovative contrasts that are essential to Vivaldi's late style. And what exertions they are! In addition to the sheer speed of the finales and the presence of extravagant moments such as the three-octave scale in the cadenza used in the finale of the newly reconstructed Violin Concerto in F major, RV 283, there are such novel effect as a concerto (the Violin Concerto in D minor, RV 243) written entirely without the use of the E string. This is, in short, state-of-the-art Vivaldi, and a great deal of fun for listeners of any kind. Extra points for the fun pun in the album title. © TiVo
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Klassiek - Verschenen op 8 februari 2005 | Archiv Produktion

Hi-Res
Recent years have brought a steady stream of recordings of Vivaldi concertos beyond the dozen or so famous ones, and it has became clear that his corpus of work remains a land of mostly unexplored riches. Consider the pair of Vivaldi works included on this Concerto veneziano, performed by violinist Giuliano Carmignola and the Venice Baroque Orchestra. Neither work sounds remotely like the Four Seasons and the other Vivaldi concertos most people are familiar with. The first movement of the Violin Concerto in E minor, RV 278, is the sort of piece Vivaldi's successor Tartini had in mind when he complained in reference to the elder master's music that "a throat isn't the neck of a violin"; it is a wordless but highly evocative little operatic scene, complete with mounting grimness and sudden chromatic shocks. The Concerto for Violin and Strings ("in due cori") in B flat major, RV 583, is a grand work with a highly virtuosic (and scordatura) violin part set against two small orchestras; annotator Roger-Claude Travers speculates that it was written for some special occasion. The slow movements of both of these works are of the unbearably beautiful sort that Vivaldi seemed to write with miraculous ease; the B flat concerto's central movement is a chaconne that begins almost minimalistically and expands into a cascade of pure ornament in the violin. Concertos by Pietro Locatelli and Giuseppe Tartini are also included. They show how the next generation of Italian virtuosi dealt with Vivaldi's example. One learns from the liner notes that Vivaldi was the first to suggest the idea of a cadenza. A massive cadenza in the Locatelli work challenges the violinist to the same degree as did Bach's sonatas for unaccompanied violin, but it has all the musical interest of a 1970s rock drum solo. Still and all, this is a must-have disc for lovers of the Baroque concerto. Carmignola and the Venice Baroque Orchestra achieve an ideal new Italian sound in the historical-performance arena, with a warmth that stands in contrast to the glittering surfaces wrought by northern European groups. One attractive feature of this release is the set of liner notes; in the U.S. version they are in English only, which allows room for enthusiastic discourse on the music itself along with detailed and entertaining performer biographies. Presumably other countries get the notes in their own languages. This approach is preferable to the packed-in small print one usually finds when translations in three or more languages are included. True, the label has to split up the production run this way, but in these days of digital graphics files, that really shouldn't be much of a problem. © TiVo

Klassiek - Verschenen op 8 mei 2021 | UMG Recordings, Inc.

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Concerten voor viool - Verschenen op 19 september 2002 | Sony Classical

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Klassiek - Verschenen op 1 januari 1996 | Divox

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Klassiek - Verschenen op 2 juni 2008 | Archiv Produktion

If this is the future of Mozart performance practice, the future is secure. The combination of period instrument violinist Giuliano Carmignola and modern instrument conductor Claudio Abbado leading the youthful period instrument Orchestra Mozart produces something new under the sun: a hybrid of both approaches that takes the best from both and creates something fresh and shining. Carmignola, the leader of Venice's Teatro La Fenice and one of Italy's best period violinists, has a focused tone, a lively sense of rhythm, and a wonderful feeling for line and color. Better still, he has a complete grasp of the music's style and his effortlessly elegant interpretations sound like echt Mozart. But best of all, Carmignola is partnered with Claudio Abbado. As well as supporting the soloist with kindness and understanding, the master conductor elicits playing from the Orchestra Mozart that fairly sparkles with brightness and enthusiasm, creating performances that could serve as models for years to come. Joined by ace violist Danusha Waskiewicz in the Sinfonia Concertante that fills out the second disc, this beautifully produced Deutsche Grammophon set stands tall among the vast number of recordings of the Mozart violin concertos already available. © TiVo
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Klassiek - Verschenen op 4 mei 2018 | Preludio Srl

Klassiek - Verschenen op 26 juni 2021 | UMG Recordings, Inc.

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Klassiek - Verschenen op 22 augustus 2014 | Sony Classical

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Klassiek - Verschenen op 1 januari 2006 | Archiv Produktion

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Concerten voor viool - Verschenen op 24 september 2001 | Sony Classical

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Klassiek - Verschenen op 14 november 2000 | Sony Classical

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Klassiek - Verschenen op 26 mei 2017 | Musica Viva

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Klassiek - Verschenen op 1 januari 2004 | Divox