Admittedly my early experience of these works was formed by the great Arthur Grumiaux' modern instrument versions, not with the ( to my ears over-romantic ) Solistes Romandes, but an earlier (I think) more incisive performance with the English Chamber Orchestra, very hard to track down, which is wonderful…
By rc_rc (Yorkshire, UK)
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.
Bach's three well-known Violin Concertos are paired here with a splendid concerto for three violins, reconstructed from the surviving version for three harpsichords, BWV 1064. The composer's fascination with the Italian solo concerto, which resulted in numerous arrangements and compositions, dates to his second Weimar period from 1708 to 1717. However, current research has revealed that Bach wrote the violin concertos around 1720, during his engagement as Kapellmeister in Cöthen. On this recording, soloists Petra Mullejans, Gottfried von der Goltz, and Anne Katharina Schreiber are backed by the matchless Freiburger Barockorchester in dazzling readings of these evergreen favorites.
Brecon Baroque was founded in 2007 by violinist Rachel Podger as resident ensemble at her annual Brecon Baroque Festival.
"Concentus Musicus were the first in the periodinstrument field with these works but time has marched on. The CD version of their set is certainly of clearer sound than the LP but not sufficiently so to convert every dish of contrapuntal soup into consommé, particularly in the outer movements of the Double Concerto. More to the musical point, the mannerisms and small aberrations now sound dated, at a time when most performers differentiate more clearly between Affekt and affectation."