Concerto Italiano

发行时间:2009-01-01
发行公司:环球唱片
简介:  意大利协奏曲   【意大利协奏曲】   18世纪中叶,巴洛克到古典过渡时期,蜚声欧洲、来自意大利北部的4位小提琴家兼作曲家。       Domenico Dall'Oglio (c.1700 - 1764):师承 Vivaldi 或者 Tartini   Michele Stratico (1728 - after 1782):Tartini 学派   Pietro Nardini (1722 - 1793):Tartini 学派   Antonio Lolli (c.1725 - 1802)       This disc of four Baroque violin concertos contains three world-premiere recordings, but they are of minimal aesthetic or historical interest. These heretofore unknown concertos by Domenico Dall'Oglio, Michele Stratico, and Pietro Nardini are no worse or better than the more familiar concerto of Antonio Lolli. The standard tricks and tropes of the late Baroque Italian violin concerto are deployed to fine effect, but only listeners fully immersed in the concertos of Locatelli, Corelli, and Vivaldi are likely to find these works more than pleasantly diverting. The performances by violinist Giuliano Carmignola are full of flash and fire, and the accompaniments by the Venice Baroque Orchestra under Andrea Marcon are poised and polished. Hearing new music can be a salutary experience, even if the new music in question is three centuries old, but general listeners are likely to find these pieces undistinguished and indistinguishable, and only specialists in the era are likely to note the qualities that make them distinct from hundreds of other late-Baroque Italian violin concertos. -- James Leonard
  意大利协奏曲   【意大利协奏曲】   18世纪中叶,巴洛克到古典过渡时期,蜚声欧洲、来自意大利北部的4位小提琴家兼作曲家。       Domenico Dall'Oglio (c.1700 - 1764):师承 Vivaldi 或者 Tartini   Michele Stratico (1728 - after 1782):Tartini 学派   Pietro Nardini (1722 - 1793):Tartini 学派   Antonio Lolli (c.1725 - 1802)       This disc of four Baroque violin concertos contains three world-premiere recordings, but they are of minimal aesthetic or historical interest. These heretofore unknown concertos by Domenico Dall'Oglio, Michele Stratico, and Pietro Nardini are no worse or better than the more familiar concerto of Antonio Lolli. The standard tricks and tropes of the late Baroque Italian violin concerto are deployed to fine effect, but only listeners fully immersed in the concertos of Locatelli, Corelli, and Vivaldi are likely to find these works more than pleasantly diverting. The performances by violinist Giuliano Carmignola are full of flash and fire, and the accompaniments by the Venice Baroque Orchestra under Andrea Marcon are poised and polished. Hearing new music can be a salutary experience, even if the new music in question is three centuries old, but general listeners are likely to find these pieces undistinguished and indistinguishable, and only specialists in the era are likely to note the qualities that make them distinct from hundreds of other late-Baroque Italian violin concertos. -- James Leonard