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Concerti Per Fagotto Oboe E a
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Je vous le conseille vivement d'acheter cet album. Même si ce dernier est tonifiant et qu'il constitue une véritable bombe d'énergie rythmique. Cette fougue est aussi bien déployée par le soliste que par les remarquables Sonatoris ; ces derniers fournissent l'écrin idéal afin que le soliste jouisse de toute la liberté requise pour faire valoir son art.
Et c'est réussi ! Le Fagotto crie sa liberté, encouragé par un orchestre particulièrement en verve, qui facilite ça et la toutes les fantaisies subtiles et nuancées du remarquable soliste.
Je dois avouer candidement que je crains que le basson à outrance finisse par m'agacer. Une heure de basson rondement menée est une expérience que je dédie aux bassonistes de votre région. Mais c'est la mon problème. Je n'avais qu'à ne pas acheter cet album. Car, l'alchimie entre les Sonatoris et le bassoniste est extraordinaire. Et la prise de son, superbe, magnifie le discours entre les deux.
Mon exaspération provient notamment de l'exécution de la «Notte» transcrite ici pour basson. La, je décroche. Déjà que le basson est dur pour les sur les nerfs, je ne peux qu'endurer cette transcription.
Alors un album magnifique pour qui adore le basson. Le soutien orchestral des Sonatori est exceptionnel.
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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.
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.
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.
The bassoon concertos add good contrast. If you like these, check out the two Vivaldi bassoon discs on the same label.
I play this and the two bassoon discs quite often.
There are also many concertos for flute and other wind instruments together. Those discs are also in the Naive series. But this disc an excellent start to explore wind concertos of Vivaldi.
If you are interested in the bassoon concertos alone, check out the 5 discs on Naxos (Bencocs, Drahos). The bassoon player is quite good there, though the orchestra is not quite the same as here, original instruments. But well enough done.
RV1 481, the opening concerto here, is on Naxos Vol 5. RV 498 is on Naxos Vol 1. Both are popular works.