Search - Franz Danzi, Nicolas Pasquet, New Brandenburg Philharmonic :: Danzi: Bassoon Concertos

An admiral attempt, but not perfect.

Bassoonut | Mountain Home, AR USA | 12/09/2004

(4 out of 5 stars)

"As a bassoonist, I myself adore the Danzi bassoon concerti. I especially like the second concerto in F.



Technically, Albrecht Holder's performance is flawless. It's not very often that you hear fingerwork this clean and smooth. However, this recording isn't just a bed of roses. There are problems.



For example, Holder's sound is practically dead. There are virtually no high overtones to be heard and the result is a flat, uninteresting tone that doesn't seem well-suited for solo playing at all. Now, I'm aware that the bassoon is very difficult to microphone and it may very well be that the studio's engineers are entirely to blame. Whatever the reason, though, the fact remains that the Albrecht Holder has a very dead sound on this album; as far as I'm concerned, the bassoon should have at least some edge in its sound. Perhaps not as much as Judith Leclair, but some. Dag Jensen and Knut Sönstevold have it just right, in my book.



Also, Holder's tenor register often sounds strained. It doesn't help that he doesn't use very much vibrato.



My main gripe, however, is resides in the orchestra's performance. In a lot of places the Neubrandenburger Philharmonie's playing is downright sloppy. Listen particularly to the opening tutti of the first movement of concerto no.2 in F. In the first two measures alone it seems that at nobody really knows who has the melody (the triplet patterns in the violins) or, for that matter, even when they're supposed to come in. The third beat of the second measure, for example, is just completely bombed. It and the chord preceeding it are just mushed together haphazardly.



To make matters worse, there are balance problems left and right. In places it seems that random members of the orchestra are close-microphoned, and you can hear them over the more important parts. Again, look to the opening tutti of the second concerto in F, particularly toward the end. When the melody is tossed between the flute (which, I might add, really isn't a loud instrument) and the violins, it sounds as though the flautist thinks that he or she is playing a solo. It's simply way too loud and the harmony is just swamped beneath it. The one flute manages to overpower ten or so first violins. Are there horns under there? Bassoons? I don't know. All I hear is this faint hum that could be anything.



Shame on you, Nicolás Pasquet, for so poorly slopping these pieces together.



Overall, not bad, but it could be better. Four stars. Now, if only we could get Dag Jensen to record these things."

Great, great!

J. P Snedeker | USA | 02/20/2007

(5 out of 5 stars)

"I love this CD. I had never known of Danzi before a chance hearing of one of these concertos on the radio. It was one of those "I have to have it" moments.



This remains one of my favorite recordings; I never get tired of listening to it. Danzi's writing is truly delightful and the musicians all sound like they're having a good time--particularly Mr. Holder, the soloist. (Isn't that one of the purposes of music--to enjoy playing it with other musicians?) If you want to hear why people love the bassoon, this is a great way to start."