The label AudioNautes proves that outstanding sound quality and high-end presentation can thrive even in the niches of the reissue market.
Alongside major players in the audiophile reissue world like MFSL or Acoustic Sounds, there exists a remarkable number of smaller companies operating in their slipstream – labels that can easily hold their own when it comes to sound quality, and in some cases, even surpass the mega-sellers. One such label is Italy’s AudioNautes Recordings, which offers both digital and analog reissues. These not only match the originals acoustically but often offer a tactile and informational upgrade to boot. The vinyl editions are pressed by renowned plants like the Pallas Group or Optimal. When you first pick up one of these gatefold LPs, it may feel familiar, even unassuming – solidly made, cleanly pressed. But once you open the gatefold, you’re drawn into a world of meticulously curated details.
Sure, liner notes are standard for any album. But how deeply a label is willing to dive into the discographic depths is a different matter entirely – and it’s here that AudioNautes sets new standards. A prime example? Solflöjt, recorded in 1977 by Swedish flutist Gunilla von Bahr and the Stockholm Chamber Orchestra. While other labels often settle for the bare minimum, AudioNautes goes all in with its research. They list every single component used in the reissue process – from tonearms to the last centimeters of cable. The original Teldec recording is documented with unparalleled precision: recording date, studio, equipment used, instruments played – no detail is left in the dark.
Why all this effort? Because for label head Fabio Camorani, it’s not just about the music – it’s about respect. Respect for the artists who created these works. Respect for the licensors who entrusted him with the original material. And above all, respect for the buyers who put their faith in an AudioNautes release – because they know they’re getting top-tier sound, quality, and background information for their money.
So let’s dive into one of the label’s latest reissues, which especially showcases AudioNautes’ deep expertise in baroque music. There are compositions one almost wishes hadn’t become so successful, as they’ve lost much of their original identity over the centuries and been subject to all kinds of “adaptations.” Mozart’s Serenade No. 13 (K. 525), better known as Eine kleine Nachtmusik, is one such victim. Another is Antonio Vivaldi’s violin concerti cycle The Four Seasons. The opening concerto, La Primavera (“Spring”), is now inescapable – reduced to elevator music, commercial jingles, and Sunday-afternoon background noise. Even well-meaning performers like I Musici or the Mutter/Karajan duo contributed to this decline, flooding the market and concert halls with overly polished, emotionally sterile interpretations, often due to a lack of understanding of baroque performance practices.
It wasn’t until pioneers of historically informed performance began reclaiming the rawness, eccentricity, and improvisational spirit of these concertos that their true character began to shine again. That AudioNautes chooses to reissue such interpretations – ones that defy mainstream trends – speaks volumes about the label’s musical vision.
Take this particular recording of Vivaldi’s perennial hit. Violinist Giuliano Carmignola, born in 1951 in Treviso, Italy, has experienced both ends of the interpretive spectrum. Initially trained in the traditional mold by greats like Nathan Milstein and Henryk Szeryng, his musical outlook underwent a profound transformation when he joined harpsichordist and baroque expert Andrea Marcon and the ensemble I Sonatori de la Gioiosa Marca. There, he traded steel strings for gut, and adopted articulation techniques only achievable with a baroque bow. This journey opened up new interpretive possibilities even for composers like Beethoven or Schubert.
Carmignola has always had a special relationship with Antonio Vivaldi – unsurprising given Treviso’s close proximity to Venice. His discography reflects a thoughtful and curated engagement with the composer’s work. He recorded The Four Seasons twice: in 2000 with the Venice Baroque Orchestra for Sony, and in 1994 with I Sonatori de la Gioiosa Marca for Divox – the very ensemble that had sparked his interpretive rethinking a decade earlier.
From the very first melodic lines of Spring, it’s clear: this is music infused with energy and verve. There’s no mechanical fiddling or sugary gloss here – Carmignola approaches the score with curiosity and a spirit of experimentation. His masterful use of rubato uncovers fresh insights in even the most familiar passages. The summer thunderstorm leaves the listener awestruck, and the icy chill of winter sends shivers down the spine.
I Sonatori de la Gioiosa Marca make it unmistakably clear: 18th-century program music could be raw, brittle, and even ugly – and that’s part of its power. The one-step 45 rpm pressing turns this reissue into a true test for your playback setup. A precisely aligned cartridge is essential, and your phono stage should offer enough dynamic headroom to fully unleash the explosive sonic character of this ultimate edition – released to celebrate the 30th anniversary of the original recording.
Antonio Vivaldi – Concerti op. 8 Nr. 1–4 Le Quattro Stagioni
Giuliano Carmignola, I Sonatori de la Gioiosa Marca
Label: AudioNautes
Format: Two LPs (45 rpm, 1-Step)
Other Current Releases from AudioNautes
Jazz At The Pawnshop Vol. 2 (Two LPs, 1-Step)
Harry Belafonte At Carnegie Hall (Two LPs, 45 rpm, 1-Step)