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American Record Guide: (05/2020) 
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Naïve
OP30576



Code-barres / Barcode : 709861305766

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The recording is titled Virtuosissimo for good reason. It is brilliant, and not only because of Dmitry Sinkovsky’s technical prowess, but because every movement he and Il Pomo D’Oro play are consummately musical. Not a single phrase goes begging for development. They can play as fast and as quietly as they like without losing their crisp articulation. The largo and adagio movements show such attention to the possibilities of dynamic expression and bow articulation that they will play on your heart strings.The program consists of five pyrotechnic concertos by Locatelli, Pisendel, LeClair, Tartini, and Telemann. Sinkovsky makes his point clear, opening with Locatelli’s Concerto No. 1 in D from the Opus 3 Arte del Violino. This music is not for the faint of heart. Sinkovsky will demand your attention, and he takes no prisoners. The best music is in the Largo, where he shows us his tender side. But you’ll have to give your heart a break after  listening to its flanking Capriccios before being jolted from your seat by the explosive chords that open the Largo e Staccato of Pisendel’s Concerto in G minor (JP I.1). Here oboes (Emiliano Rodolfi and Olga Marulanda) and
bassoon (Michele Fattori) join in. Playing near the bridge in the allegro (II) gives Sinkovsky’s passages just that much more intensity. The delightful pattern recurs for each of the concertos. Every movement is stunning. Fast movements are electrifying, slow movements lyrical and evocative. For example, the gradual dynamic growth in the adagio that opens LeClair’s Concerto in D (Op. 7:2)  creates the illusion of an unfurling of sound, as though it were a flower coming into bloom. I am delighted to hear the harp (Chiara Granata) in the continuo for Tartini’s Concerto in A minor (D 115) and especially in the third movement of Telemann’s Concerto in B-flat (R 51:B1). The ensemble works well together, pushing the extremes of expression.

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