Carmignola Bach

Bach's Sonatas for Violin and Harpsichord hardly lack for excellent recorded versions in the period instrument department, including these sensitive and musicianly collaborations between Giuliano Carmignola and Andrea Marcon. Tempos rarely move faster than the music can sing, and cultivated vocalism characterizes Carmignola's sweet, silvery timbre, which differs from Andrew Manze's grittier approach. Indeed, you hardly notice Carmignola's bow arm at all in the way his long, sustained notes seem to materialize from within the harpsichord. A genuine give and take prevails as the musicians effortlessly adjust to each other's foreground and background roles.

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."

Claudio Abbado isn't a name one associates with early music, in light of his impressive career conducting the masterworks of the Romantic and modern eras. Indeed, he didn't conduct any music by J.S. Bach with the Berlin Philharmonic until as late as 1994. Yet when he's leading the talented Orchestra Mozart of Bologna in Bach's Brandenburg Concertos, his ease with the music and his players is obvious, and the performances have almost as much Baroque style as many versions by period ensembles of greater longevity. Abbado led this ensemble in all six Brandenburgs in 2007 at the Teatro Municipale Romolo Valli in Reggio Emilio, and the live performances were recorded by Deutsche Grammophon with close attention to details, as befits chamber music.

When we refer to the "Bach Double," most classical music aficionados know what's being discussed: Johann Sebastian Bach's Concerto for two violins in D minor, BWV 1043. Apart from reconstructions, it's his only double concerto for two violins. With Antonio Vivaldi, such an abbreviated designation is impossible, as he has 27 – count 'em – 27 double concertos for two violins.

Born in Turin, Felice Giardini since he was young, he manifested a predilection for the violin, but his father sent him to study singing, harpsichord and composition at the Chapel of the Cathedral of Milan. Back in Turin, he went on to study violin with the renowned Giovanni Battista Somis and began to hold positions as a violinist first in Turin and then to Naples, where he later became vice-master of the Teatro San Carlo chapel. Giardini decided to pursue a solo career, he traveled to Europe and after the great successes during the concerts held in Berlin and France, he settled in England, where he remained for more than forty years, supported by the relevant protection families of London. He was Italian opera director throughout his stay in London.

When we refer to the "Bach Double," most classical music aficionados know what's being discussed: Johann Sebastian Bach's Concerto for two violins in D minor, BWV 1043. Apart from reconstructions, it's his only double concerto for two violins. With Antonio Vivaldi, such an abbreviated designation is impossible, as he has 27 – count 'em – 27 double concertos for two violins.

“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

A truly beautiful and unique tracklist with rarities including Víkingur Ólafsson’s new arrangement for piano of a Bach Cantata, rare transcriptions for guitar, for mandolin and even String Quartet; alongside familiar Bach masterpieces, all played by the world’s greatest classical artists, curated and presented Deutsche Grammophon.