“Cappelletti and Bamert’s coupling is salutary in what little remains to apologize for in Respighi’s music when played with real opulence and virtuosity. The fact is that the Concerto belies its name: both have shrewdly perceived that Respighi’s use of modality enables him to explore both early music and folklore … The lushness sounds much more natural in the context of a late-romantic violin concerto, with a big and bold performance of rich and dramatic gesture. Cappelletti, a striking and accomplished soloist, makes the most of the finale’s punch and vigour, but also of the musing beauty of the slow movement. I now prefer this (version)” … “romantic warmth is also a feature of Barra’s Poema (suite), Respighi in neo-baroque lush harmonies with a baroque-size orchestra” (Gramophone)
Concerto gregoriano for violin & orchestra [32:16] [1] I. Andante tranquillo 9.15 [2] II. Andante espressivo e sostenuto 10.32 [3] III. Finale (Alleluia): Allegro energico 12.28
Concerto all’antica for violin & orchestra [30:35] [4] I. Allegro 12.45 [5] II. Adagio non troppo 8.44 [6] III. Scherzo: Vivace – Tempo di minuetto – Vivace 9.06
