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비발디: 첼로를 위한 협주곡 2권 - 크리스토프 코인, 지오반니 안토니니 비발디는 여러 독주악기를 위한 협주곡을 무수히 많이 썼으나, 그중 첼로 협주곡은 적은 편이다. 2006년에 발매한 첼로을 위한 협주곡 제 1권으로 많은 비평가들의 호평을 받아 그 명성이 한 층 더 높아진 크리스토프 코인, 일 지아르디노 아르모니코, 지오반니 안토니니는 치밀하면서도 자신감 넘치는 연주로 첼로 협주곡 2권을 연주하고 있다. 크리스토프 코인은 다소 가볍고 거친듯한 바로크첼로를 사용하여 때론 애수띤 소리를, 때론 밝고 경쾌한 리듬을 들려준다. 1985년 결성된 일 지아르디노 아르모니코는 원전악기 단체로 우아한 기품과 박력 넘치는 연주로 탄력적이고 생동감이 샘물 솟듯 넘치는 비발디의 악상을 잘 살려내고 있다. *BBC 뮤직 매거진 이달의 음반
Album Review This is part of a two-disc set of Vivaldi cello concertos on the Naïve label featuring historical-performance specialist Christophe Coin. Some of the concertos have been recorded before by Coin and other cellists, but some are new; both discs are part of a larger series devoted to the trove of Vivaldi manuscripts at the Biblioteca Nazionale in Turin, drawn largely from the composer's personal collection. As more and more Vivaldi emerges, the variety of his output only seems more miraculous. Among the works recorded here, the range between the somber Cello Concerto in C minor, RV 401 (tracks 4-6), and the adjacent Cello Concerto in E flat major, RV 408, with its cheery tone and highly variegated texture, is striking. Coin, atypically in this context, does not conduct the orchestra himself, but his coordination with Il Giardino Armonico under Giovanni Antonini, especially in the spare and highly lyrical slow movements, is exceptional. In general, Coin avoids the brisk, extreme-tempo approach of some of his Italian contemporaries, and he produces fluent, warm readings that take into account the varied flavors of each individual work. The Cello Concerto in C major, RV 399, for instance, requires attention to the proto-folkish passages in the work: a performance that didn't give them the proper zip would come off as rudimentary, but in Coin's hands the music seems positively groundbreaking. one must also applaud Naïve's attractive presentation, fearlessly lining up the Vivaldi discs with pop releases in an attached "also available" booklet. The only misstep is the overspecialized booklet essay by Michael Talbot, which begins with a lengthy disquisition on a cello type that is not in fact used before delving into such minutiae as copyist identity and clef usage. Fortunately, the music can speak for itself, and the engineering allows its voice to clearly come through. by James Manheim |
