Search - Antonio Vivaldi, Sonatori de la Gioiosa Marca :: Vivaldi: Concerti per fagotto e oboe (Vivaldi Edition)

Startlingly Effective Performances

J Scott Morrison | Middlebury VT, USA | 09/16/2004

(5 out of 5 stars)

"Quite by chance I heard the first band on this CD, the opening Allegro movement of Vivaldi's bassoon concerto, RV 481, on BBC Radio 3's program, 'CD Review,' and I was immediately struck by the brio and winning confidence of the playing of soloist and ensemble alike. I'm not generally a huge fan of Vivaldi, particularly in his chug-a-chug mode, and although this first movement is one of those passages, the playing here was so infectious that I had to hear the whole thing. I was not disappointed. The following movement, for instance, a Larghetto with lots of double-dotting played with equally extraordinary ferocity and rough good humor by bassoonist Sergio Azzolino, won me over completely. Azzolino, a one-time pupil of the master bassoonist, Klaus Thunemann, is a marvelous player who combines secure technique with dramatic flair. The CD contains a total of six concerti, three for solo bassoon, two for solo oboe (played by Hans Peter Westermann, Azzolino's equal) and one double concerto for both soloists. Of course, Vivaldi wrote many concerti for these instruments and one might think they tend to sound alike (and indeed they all DO sound like Vivaldi!) but they each have their own felicities. In the A minor oboe concerto, RV 461, for instance, the long lines of the oboe solo are accompanied by violins and violas only. The justly famous bassoon concerto, RV 501, called 'La Notte,' is in five movements played without interruption leading to the evocative 'Sorge l'aurora' ('Sunrise'), another of Vivaldi's nonpareil tone pictures. The double concerto, RV 545, has lovely combinations of the two instruments, as well as clever canonic writing.



The soloists (as well as the players in the string ensemble, Sonatori de la Gioiosa Marca) play baroque instruments. I particularly liked the sound of the baroque organ (Gianpietro Rosato) featured at times in the continuo. The solo double-reed instruments have an appealing huskier sound than that of modern instruments. This really seems to fit the heartiness of Vivaldi's music. Perhaps that's one reason I liked this CD so much--the sound seems appropriate to the pastoral and rustic effects of Vivaldi's music.



There are many other recordings of these concerti (including a wonderful double-CD played by Thunemann on a modern instrument) and I've heard many of them, but I like these performances best.



Recommended.



TT=59:29



Scott Morrison"

Rich Pre-Classical Vivaldi for Double-Reeds

rodboomboom | Dearborn, Michigan United States | 09/16/2004

(5 out of 5 stars)

"This has been known to be excellent pre-classical Vivaldi which sounds more like cantata with Rococo style.



It is elegant and played on period instruments by Azzolini and Westermann.



The two wind instruments play off each other so well providing ample background support from strings of the Sonatori De La Gioisa Marca.



This is release in series of manuscript discovery in Turin released in some fifty recordings over 2001-2004."

Amazing Bassoonist

Andrew Judkins | 08/17/2009

(5 out of 5 stars)

"The fact that an adventurous composer like Vivaldi wrote oboe concerti is no wonder. What is amazing is that he also wrote 39 bassoon concerti, his second largest group behind violin concerti. This album features a logical marriage of both oboe and bassoon concerti and even a work for both instruments. Naturally, the album is bassoon heavy, as is Vivaldi's oeuvre, and it begins and ends with a bassoon concerto. This album demonstrates how bold Vivaldi was in writing for these instruments, but also his different approaches. The bassoon writing is more angular, and relies on staccato, large intervals and swift passages in different ranges. Overall the bassoon's treatment is more virtuosic. The oboe has more flowing, lyrical lines and more gentle phrasing. Vivaldi still puts large demands on the oboe with lots of figuration.



The performances are outstanding. Sergio Azzolini provides the best bassoon playing I've ever heard--either baroque or modern. The baroque instrument has a much darker tone that is less comical than the modern instrument. This factor plus Azzolini's outstanding musicianship makes the expressive range offered here massive. Hans Westermann is also excellent on his rich sounding oboe. The orchestra plays one to a part and offers a delicate yet urgent sound that can turn fiery at any moment. The one qualm about the recording is sometimes the bassoon plays the tutti bass line so loudly it throws off the balance. This problem is especially noticeable in the La Notte concerto. Included are:



Concerto for Bassoon in D minor RV 481. This concerto has an angry opening that shares orchestra material with a cello concerto in D minor. This work is later that the cello concerto and uses elaborate ornamentation in the solo part. The slow movement offers no respite, being tragic, determined and even violent sounding. There is a apex in which the bassoon dramatically uses long notes at the bottom of it's range. The last movement is nervous sounding.



Concerto for Oboe in A minor RV 461. This is perhaps Vivaldi's most well-known oboe concerto. It makes use of clear and well polished writing with great attention to melody. The accompaniment during the solos is impressive in its variety. The slow movement is in C major and shows of Vivaldi's lyrical genius. The last movement has real excitement and tension.



Concerto for Oboe and Bassoon in G major RV 545. This work is notable on two counts. For one the general style is edging toward classicism, into what might be called Rococo. Second, the solo part deviates from Vivaldi's normal double concerto texture, having the bassoon accompany the oboe in a very elaborate fashion, rather than the usual equal dialogue. Vivaldi cleverly writes and phrases the solos so that in effect the soloists are equally busy despite the part writing approach. The slow movement is a more standard, equal dialogue.



Concerto for Bassoon in A minor RV 498. This might be my single favorite bassoon concerto. Is starts with a mysterious and striking melody, which Vivaldi marks 'sempre piano' (always quiet). The solo writing is just as mysterious, opening with a melody featuring large leaps. The slow movement takes a turn into the most intimate kind of lyricism. The creatively ornamented solo line features lyricism thought impossible on the bassoon. Also impressive is the elaborate solo accompaniment. The last movement is a typically fiery finale.



Concerto for Oboe in C major RV 451. This concerto is perhaps the lightest fare on the album, but it is a lot of fun. The showers of notes in the first movement bring to mind a cascading stream. The slow movement is in the minor, with an awkward, slightly tortured melody. The last movement brings to mind a rustic dance.



Concerto for Bassoon in B flat major 'La Notte' RV 501. This is hands down Vivaldi's most famous bassoon work. Although excellent, this designation is obviously because of its programmatic nature. The writing suggests an early date as compared to most his other bassoon concerti. The structure of this concerto perhaps is clearer than the flute version. It opens with a Largo of general nighttime mood music, and quickly sprints into the Fanasmi (spirits, ghosts) movement. This is followed by the brilliantly lethargic Sonno (sleep) movement, with it's simple cascades of notes. The last movement revels in all that is positive and pastoral, representing the coming of dawn. The opening tutti with ginger imitations in up the scale in the violins, brilliantly brings to mind the rising sun.



Excellent album worth it just for that fantastic bassoon playing."