Giulio De Nardo

IL SUONO RITROVATO – Antonio Vivaldi, Works with obbligato Organ (inAures, 16.05.2025)

The organ is unlikely to be the first instrument one associates with Antonio Vivaldi. Yet, the Red Priest composed remarkable works for this instrument, drawn to its vast tonal variety and the evolving technical possibilities of his era. The purpose of this recording is thus to present these pieces using two original 18th-century Venetian instruments, and it aims to present a novel and unexpected timbral palette alongside innovative interpretative ideas born from the use of two extraordinary instruments. Vivid and richly coloured sonic images arise, evoking the brilliance of great Venetian masters such as Piazzetta, Tiepolo, Canaletto, Guardi, Ricci, Carlevarijs, Diziani, and Marieschi.

you will be redirected to http://www.inaures.art

«BACH IN VENICE» – Concertos for harpsichord and orchestra after Vivaldi & Marcello (DIVOX, 14.04.2023)

Transcription is a process in which a composition is set for different instruments than the one originally intended. In the past, this was a more common practice than it is today, used for different reasons and for different purposes. This also gave rise to the idea of creating six new concertos for solo harpsichord and orchestra by using the original orchestral scores by Antonio Vivaldi and Alessandro Marcello as well as the harpsichord part of the transcriptions by Johann Sebastian Bach. This new arrangement by Giulio De Nardo thus offers the opportunity to expand the repertoire for keyboard instrument and strings, and on the other hand to introduce today’s listeners, who are already familiar with the original versions, to the colors and nuances of this new sound combination with this world premiere recording. As Bach never visited Venice in person, the title of the CD has been put in quotation marks.

CLAUDIO MONTEVERDI – Vespro di Natale / Christmas Vespers (Deutsche Grammophon, 28.10.2022)

The project was recorded in the church of Santa Caterina in Treviso, which made it possible to use a large mean-tone organ: the tonal possibilities of this organ have influenced numerous aspects of the musical interpretation. These include an intensification and differentiation of the affetti and chiaroscuri (the sharp contrasts so typical of the early 17th century), the harmonic tension and an enlargement and intensification of the dynamic palette of the ensemble. All of this adds up to a surprisingly modern, grandiose, glamorous and lively sound of Monteverdi’s music, which makes the Splendore di Venezia immediately tangible to the senses