卡米诺拉演奏古乐一般用两把琴，一把十八世纪无名氏所制的小提琴，得自他家乡的音乐前辈艾普裏良（Angelo Ephrikian），Ephrikian曾在战后破译出一份维瓦尔第的手稿。另一把琴，由圭达图斯（Floreno Guidantus）在1793年制造。卡米诺拉非常喜欢这把圭达图斯琴，环球archiv首次录音使用的就是这把。他说：“用这把琴演奏巴洛克音乐真是绝妙极了，我想要的音色，它都能作出来。”录音中圭达图斯的音色非常华丽，变化多端，高音弦带有金属似的银亮色调。他演奏的巴洛克音乐一方面带有古乐器那种粗礪的质感，另一方面音色很亮，很优美，洛杉磯时报的一个评论很形象，说卡米诺拉的演奏兼有漫画家赫许菲尔德（Hirschfeld）那狂放随性的线条，以及雕塑家贾柯梅蒂（Giacometti）金属雕塑的枯瘦优雅。
早在七十年代，卡米诺拉在罗马独奏家乐团（Virtuosi di Roma）演奏，后来他回忆说，当时演奏巴洛克曲目还是以甜美的发音、辉煌的技巧为主，浪漫式的演绎，压根没有什麽历史观念。从那时开始，卡米诺拉走了很长一段路，他说：“你要不停去发现新知，努力去接近真理。”
Release Date: 09/02/2008
Label: Brilliant Classics Catalog #: 93091 Spars Code: n/a
Composer: Antonio Vivaldi
Performer: Andrea Marcon, Giuliano Carmignola
Conductor: Andrea Marcon
Orchestra/Ensemble: Sonatori de la Gioiosa Marca
Number of Discs: 3
Recorded in: Stereo
Release Date September 2, 2008
Vivaldi - Violin Concertos (Giuliano Carmignola, Andrea Marcon)  3cd
Classical | Label: Brilliant Classics | Catalog Number: 93091
Dutch label Brilliant tends to issue giant budget box sets, with mixed results. This one, collecting a group of 1990s recordings originally appearing on the small Divox label from Switzerland, has some of the characteristic flaws, but it actually assembles three discs' worth of music that belongs together in a single program. What you get here is an unusually broad range of insight into Vivaldi as a programmatic or representational composer. The program begins with the most famous Vivaldi work of all, programmatic or not, the four violin concertos known as Le Quattro Stagioni or the Four Seasons. The rest of the music is much rarer. The second disc presents a set of five concertos grouped under the title "Le Humane Passioni" -- the Human Passions. They are comparable to Couperin's subtle personifications of emotion, but they are not written in a French style. Instead, they are just as imaginative as the Four Seasons within the restrains of the typical three-movement concerto form. The most performed of the group is the Violin Concerto in D major, RV 234, "L'inquietudine," with its tumultuous quality, but equally enjoyable is the Violin Concerto in E major, RV 271, which seems almost to poke fun at the lovestruck personality. These concertos deserve to be played a bit more expressively than the way they're heard here in performances by a group of musicians all from the Venice area, but they don't get in the music's way; violinist Giuliano Carmignola is one of the few violinists to have made a successful transition to Baroque-style playing from a conventional background. The final disc contains five concertos written for performance in churches, plus one odd Concerto "LDVB" (Grosso Mogul) in D major, RV 208, apparently added to fill out the disc. These date from various phases of Vivaldi's career, and listeners may find it difficult to detect a specific sacred style; the Concerto "Per la Solennita della S. Lingua di S. Antonio in Padua," RV 212 (CD 3, tracks 1-3), an early work, pushes the violin to the high extremes of its range.
Notes and Editorial Reviews
VIVALDI Violin Concertos: The Four Seasons; in e, “Il favorito”; in D, “L’inquietudine”; in c, “Il sospetto”; in E, “L’amoroso”; in C, “Il piacere; in D, “S. Antonio in Padua 1712”; in E, “Il riposo—per il Santo Natale”; Read more in F, “Per la solennita di S. Lorenzo”; in D, “Il grosso Mogul.” Concerto in F for 3 Violins, RV 551. String Concertos: in d, RV 128; in g, RV 153. Concertos in due cori: in D, RV 582; in C, RV 581 • Giuliano Carmignola (vn); Andrea Marcon (hpd, org); dir; Sonatori de la gioiosa Marca • BRILLIANT 93091 (3 CDs: 182:30)
Before Giuliano Carmignola, Andrea Marcon, and the Venice Baroque Orchestra recorded for Sony, Giuliano Carmignola, Andrea Marcon, and the Sonatori de la gioiosa Marca, founded in Treviso in 1983, assembled a number of collections of thematic sets of concertos by Vivaldi. They appeared on Divox 79404 ( The Four Seasons and other concertos, 1994, which I reviewed in 23:5), Divox 79406 (“Le Humani Passioni,” 1995, which I also reviewed in 23:5), and Divox 79605 (“Concerti per le solennità,” 79605) with excellent notes. In 2000, Carmignola and the ensemble (without Marcon) issued another collection on Erato 80225, “Concerti della natura,” which I reviewed in 24:2. Brilliant Classics has now gathered together the first three of these sets with new notes, and those who love Vivaldi have cause to celebrate their return.
Carmignola and Marcon took their Vivaldi with a tangy twist of lemon, pointing rhythms with irresistible verve, varying the timbres and textures of the string body as colorfully as Vivaldi seems to have intended, and highlighting the music’s drama with stark dynamic contrasts. Fabio Biondi with L’Europa Galante and Enrico Onofri with Il Giardino Armonico had also extended the range of expression established and circumscribed by early groups like I Virtuosi di Roma and I Musici to what might at first hearing seemed outrageous extremes. But none of these groups indulged the kind of period sound that had characterized some earlier recordings: unrelentingly nasal, whining, and abrasive. Carmignola, a former student of Nathan Milstein and Henryk Szeryng, certainly avoided harsh caricatures of violin tone (as also did Andrew Manze) but produced a tone that, while identifiable as emanating from an older time, nonetheless seemed highly compatible with these times. And Divox’s engineers (in cooperation with WDR in the second and third of the sets) presented the ensemble’s bold gestures in a thrilling showcase, reflecting the felicitous ambiance of the Treviso’s Church of San Virgilio.
The Four Seasons concertos bring manifold pleasures, their graphic effects enhanced in these performances principally by Carmignola’s virtuosity and by mercurial changes in mood and atmosphere, dizzying changes from thunder to repose, which soloist and ensemble seem to take as their principal textual argument. That focus doesn’t preclude the occasional coloristic detail, as at the very beginning of the final movement of “Winter.” Nor does it relegate the discovery of Vivaldi’s rich orchestral imagination to a back seat. And, again, both soloist and ensemble tie all these together with irresistible rhythmic élan. They fill out the rest of the first disc with heady realizations of the Concerto for Three Violins, RV 551, and a crisp reading of the Concerto for Strings, RV 128.
The second disc comprises musical sketches of “the human passions,” one of them from the larger set, op. 8 (“Il piacere,” op. 8/6). Andrew Manze included “Il favorito” and “L’amoroso” in his collection on Harmonia Mundi 907332, 28:4, and “Il piacere” in an earlier collection, Harmonia Mundi France 907230, 21:5—Milstein also used to play it and recorded it. “L’inquietudine” provides apt illustrations of Vivaldi’s representation of moods, influenced perhaps by the Baroque’s Affektenlehre , with certain kinds of rhythms “objectively” projecting emotions, as objective in their association as the descriptions in Descartes’s and Malebranche’s philosophical psychology. But Carmignola plays with an agitation that colors this kind of cut-and-dried expression with theatrical rhetoric. (Fabio Biondi plays this Concerto in a set of “Concerti con titoli” on Virgin 45424—24:2.) In fact, in reviewing this set in its earlier incarnation, I mentioned that the ensemble and soloist “achieve their effects on a larger dramatic scale uncommon in performances of Vivaldi’s concertos on period instruments,” a judgment that I’d still render. Yet their readings of the slow movements of “L’amoroso” and “Il piacere,” by turns delicate and tender, show that they can portray more than one character type. The second disc ends with the Concerto, RV 153, for strings.
In many ways the most impressive (and by far the longest) disc of the three, the third, collects concertos written for special occasions. Vivaldi appears to have intended some of these for his own use, and several of them reach up into what would have been the highest positions known at the time. Johann Friedrich Uffenbach heard Vivaldi in a concerto, the cadenza of which called for him to reach beyond the fingerboard; Uffenbach professed himself more startled than pleased by the results. The first concerto on the recording, written “for the solemnity of the holy tongue of Saint Antonio in Padua” seems to have been composed for a special trip to Padua, during which Vivaldi’s father intended that he perform it at the Basilica of Saint Anthony. Compared with the early recording of the Concerto by Piero Toso and I Solisti Veneti (reissued by Sony as 47662), the Sonatori adopt breakneck tempos, and Carmignola plays with coruscating brilliance. This version of the Concerto (Toso plays 212a, with a different slow movement) incorporates extended passagework into the first movement. A manuscript of the cadenza has appeared in sources like Walter Kolneder’s book on Vivaldi, but it doesn’t include the extended figuration in which Carmignola engages. Whatever effect Vivaldi himself may have had in his performances, Carmignola proves himself quite dazzling. “Il riposo—per il Santo Natale” provides a gentle contrast in this reading, with occasional bright sparkles in the last movement. The collection includes two of the three concertos of which I’m aware that Vivaldi wrote for what the old Schwann catalog used to call “two orchestras.” These two both bear inscriptions “Per la Santissima Assunzione di Maria Vergine”—the Assumption being Venice’s patronal feast; the concertos may have more of the secular than the sacred in their background as well as makeup, for La Serenissima celebrated this day with special splendor. Both concertos begin with triadic themes, both incorporate brilliant passagework and brilliant, eagle-aerie cadenzas, and both feature the interplay of an antiphonally divided orchestra (for San Marco?). This may be Vivaldi at his most ceremonially magnificent—and the same goes for Carmignola and the orchestra; but, once again, Carmignola adds something personal in the pungent ornamentation he provides for the skeletal slow movement Vivaldi furnished. Others have recorded the “Grosso Mogul,” including Viktoria Mullova, one of the superstar converts to period instruments (Onyx 4001, 30:5), who, I thought, didn’t appreciate its multum in parvo scale. And that’s Carmignola’s and Il Sonatori’s specialty.
Brilliant’s re-release brings to a more general audience some of the most invigorating Vivaldi I’ve heard. Essential for any Baroque collector’s library—even if you thoroughly disagree with Carmignola’s take on the composer.
CD1: Il cimento dell'armonia e dell'inventione, including le Quattro Stagioni
Concerto Op.8 No.1 in E major La Primavera (Spring)
02. Largo e pianissimo sempre
03. Danza pastorale, allegro
Concerto Op.8 No.2 in G minor L'Estate (Summer)
04. Allegro non molto
05. Adagio- presto
06. Presto, tempo impetuoso d'estate
Concerto Op.8 No.3 in F major L'Autunno (Autumn)
09. Allegro, La Caccia
Concerto Op.8 No.4 in F minor L'Inverno (Winter)
10. Allegro non molto
Concerto for 3 violins, viola & b.c. in F major RV 551
Concerto for strings & b.c.in D minor RV 128
16. Allegro non molto
CD2: Le humane passioni
Violin Concerto in E minor RV 227 Il Favorito
Violin Concerto in D major RV 234 L'Inquietudine
04. Allegro molto
Violin Concerto in C minor RV 199 Il Sospetto
Violin Concerto in E major RV 271 L'Amoroso
Violin Concerto in C major RV 180 Il Piacere
14. Largo e cantabile
Concerto For Strings & b.c. in G minor RV 153 Originale
18. Allegro assai
CD3: Concerti Per Le Solennita
Concerto "Per la Solennita della S. Lingua di S. Antonio in Padua"in D major RV 212
Concerto 'Il Riposo-per il Santo Natale"in E major RV 270
Concerto "Per la Solennita di S. Lorenzo" in F major RV286
07. Largo molto e spiccato
09. Allegro non molto
Concerto in due Cori "Per la Santissima Assunzione di Maria Vergine"in D major RV582
Concerto in due Cori "Per la Santissima Assunzione di Maria Vergine"in C major RV581
13. Adagio e staccato-allegro ma poco poco
Concerto "LDBV"(Grosso Mogul) in D major RV208
17. Grave, recitativo