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.
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
“Here Claudio Abbado is gambolling among the Brandenburg Concertos in this straightforward TV-style concert film, recorded in the classic 19th-century opera house at Reggio Emilia during an Italian tour in spring 2007. The orchestra is at first glance a curious gathering, mixing 'Baroque' players such as violinist Giuliano Carmignola and harpsichordist Ottavio Dantone with 'modern' names such as trumpeter Reinhold Friedrich and 'un-Baroque' recorder-player Michala Petri. Furthermore, a look round the instruments reveals mostly modern models, some hybrids…” Gramophone Classical Music Guide, 2010
The legendary Brazilian pianist Nelson Freire specializes in the 19th century and has turned to recording Bach in his eighth decade, apparently for the first time. All you can say is that it was worth the wait. His Bach is typically restrained, not unaware of the long tradition of Bach piano performances, but decidedly unlike anyone else's approach. In general, Freire is pianistic without applying a lot of pedal.