Track Listing

1. Concerto In C Major For Violin: Allegro ma poco
2. Concerto In C Major For Violin: Largo
3. Concerto In C Major For Violin: Allegro
4. Concerto In D Major For Violin: Allegro
5. Concerto In D Major For Violin: Andante
6. Concerto In D Major For Violin: Allegro
7. Concerto In E Minor For Violin: Allegro non molto
8. Concerto In E Minor For Violin: Largo
9. Concerto In E Minor For Violin: Allegro
10. Concerto In F Major For Violin: Allegro
11. Concerto In F Major For Violin: Larghetto
12. Concerto In F Major For Violin: Allegro
13. Concerto In B-Flat Major For Violin: Allegro non molto
14. Concerto In B-Flat Major For Violin: Largo
15. Concerto In B-Flat Major For Violin: Allegro
16. Concerto In C Major For Violin: Allegro ma poco
17. Concerto In C Major For Violin: Largo
18. Concerto In C Major For Violin: Allegro ma poco

Product Details

• Amazon Sales Rank: #13574 in Music
• Brand: Sony
• Released on: 2001-08-07
• Number of discs: 1
• Dimensions: .22 pounds

Amazon.com's Best of 2001
This premiere recording of six Vivaldi concertos is full of surprises. The works are entirely unknown because, unlike his other compositions, they were written not for publication but for substantial private commissions from wealthy patrons. Dating from his most mature years, they exhibit a style very different from his earlier concertos, which often sound almost mass-produced. Though they are still cast in the customary three movements and are full of the usual sequences, they are more unpredictable, dramatic, and daring; adventurous in form, harmony, and texture; with sudden contrasts of mood, character, and expression. The slow movements are meltingly beautiful, but no two concertos are alike, either in detail or overall effect. Some movements hardly seem to hang together; they appear to consist of collages of motives, punctuated by bursts of virtuosity.

The performance is equally unconventional. Giuliano Carmignola, as he demonstrated on his previous Vivaldi recording, is a formidable virtuoso who projects spontaneity, vitality, and expressiveness. In solo parts bristling with runs, often into the highest register, trills, double stops, and arpeggios, he displays breathtaking speed and facility, total command of every style of bowing and articulation, and a ravishing, powerful, infinitely variable tone. Except for the harpsichord, the orchestral instruments, tuned to normal pitch, hardly sound Baroque--their tone is full-blooded and varied. By using two harpsichords and a lute, conductor Andrea Marcon achieves percussive effects sometimes resembling gunshots, and the playing is by turns brilliant, lyrical, and exciting. --Edith Eisler

Customer Reviews

High Standards Met in this BreakThrough Baroque Recording
Appetite wetted for this collection through clips played on beethoven.com, which made me want more.

This is truly a beautiful recording of Vivaldi concertos never recorded before, due to the business decision made in the composer's later years to not mass distribute his compositions.

Thus, these concertos burst forth in the new, more non-conventional style. Not in the style of the Four Seasons, these are glorious, non-symmetrical freedom. Musical instruments of the period are unlike any this reviewer has heard, they do sound as another reviewer remarked: "unbaroque." These strings sing and roar at times, sensitive and plucked at others.

Brilliance pours forth from this disc. Truly enjoyable!

#1 hit record!
I'm distressed to hear this recording described as music that "doesn't sound baroque" as if it were a good thing. Why would you feel compelled to buy music you don't actually like? It seems obvious to me that you should listen to what you enjoy, rather than trying to force baroque music to sound like what you're used to. In fact, the existence of period instrument orchestras such as the Venice Baroque can be traced back to a reaction against the plodding, large orchestras of yesteryear. While they may not play at period pitch (slightly lower than today's concert "A"), this group performs with smaller numbers and the lighter textures afforded by gut strings and early bow design. What we get may not be "authentic," per se, but it is certainly a more favorable listening environment in which the music of Vivaldi can truly shine. Conductor Marcon plays harpsichord along with a second keyboardist. An archlute rounds out the continuo- but most people are probably here to hear Carmignola. It seems he's being groomed for the level of stardom that has overlooked historically-informed performers so far (probably the next biggest name in baroque violin, Andrew Manze, is still small beans compared to a Shaham or Mutter). I believe he will be well suited to it, as he commands great skill and passion on the instrument. While I avoided the first release of this group (I don't need a third recording of the four seasons, do I?) I was interested to hear them, and these "world premiere" recordings of obscure Vivaldi works. I'm pretty happy with it. Though they aren't as groundbreaking as Europa Galante or Il Giardino Armonico, the Venice Baroque are a fine ensemble, and Carmignola has a long career ahead of him, I'm sure. This is baroque music, to be sure, with a nod to the Galant which was, I suppose, looking ahead to Romanticism. Don't expect Wagner, though. This is still Vivaldi, 18th century, pre-Sturm und Drang. Give it a listen- you might even enjoy yourself.

Baroque that doesn't sound like Baroque
I purchased this album on impulse, although Vivaldi is one of my favorite composers. Did I actually need more Vivaldi??? Well, I'm glad I had the impulse, because this album has continually given me hours of pleasure. The concertos are rich in sound, rather like Vivaldi had met Rachmaninoff -- gone are the bouncy and cheerful Baroque movements, but they are replaced by fluidity and romance, rather like Vivaldi had outgrown the Baroque and foreshadowed the Romantics. The orchestra is well-balanced, and there isn't too much of the harpsicord (which I can do without). All instruments blend well, including Carmignola's violin. The music is entertaining and well as calming -- it's quite an experience to hear Baroque not just played and presented well, but smoothed into gentle, subtle and evocative tones. The sound on this album is clear and clean -- no distracting noises that often ruin such fine performances. I highly recommend this album to anyone who likes Baroque and even to those who don't, because this is the least baroque Baroque you may find.