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English Bassoon Ctos

Graham/Various-Royal B Salvage Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
Price: CDN$ 66.95
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1. Fogg: Concerto in D: Allegro vivace
2. Fogg: Concerto in D: Grave e molto sostenuto
3. Fogg: Concerto in D: Con spirito
4. Addison: Concertino: Andante-Allegretto
5. Addison: Concertino: Andante-Moderato
6. Addison: Concertino: Larghetto
7. Addison: Concertino: Moderato
8. Hope: Concertino: Moderato
9. Hope: Concertino: Quasi blues
10. Hope: Concertino: Giocoso
11. Butterworth: Summer Music, Op. 77: Allegretto, pastorale
12. Butterworth: Summer Music, Op. 77: Nocturne (Lento)
13. Butterworth: Summer Music, Op. 77: Vivace-quasi presto

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Most helpful customer reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars Good music for an unlikely instrument April 30 2002
Here's a disc that isn't likely to jump out at you and say "I need to be bought." Concerti for bassoon are rather rare, especially if you throw out Vivaldi's efforts in the genre. Mozart and Weber's early efforts are about all that bassonist have to work with. The lowest of the woodwinds just isn't the [] of soloists imaginable. (In fact, it's hard to think of a less [] regular instrument!!)
That all said, this disc makes a good case for a reappraisal of the bassoon's solo possibilities, particularly given the colorful and soulful playing of Graham Savage. Not everything here is profound, but all four concerti are quality music.
Pride of place goes to Eric Fogg's D Major concerto of 1931. This is incredibly beautiful which digs a lot deeper than one would expect. Fogg eschews the idea of the basson as either a grumpy curmudgeon or a silly clown. Instead, he lets the instrument sing, particularly in the lamenting slow movement. This is a piece all bassoonists should know.
The second best piece here is Peter Hope's Concertino, written in 2000. It opens mysteriously with a melody very reminiscent of the score from "Lord of the Rings." In fact, this piece is redolent in memorable themes, from the bluesy slow movement to the bouncy finale. Hope keeps threatening to veer into Holywood kitsch or popular music, but he never quite slips into banality. Instead, he produces a piece that is a lot of fun.
The Addison and Butterworth pieces are somewhat less engaging but are certainly listenable and pleasant. In fact, there isn't a single harsh sound on this disk even though everything is clearly of the 20th century.
Also missing is much of the Vaughan Williams pastorale school that one might expect to find in this type of music.
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.5 out of 5 stars  4 reviews
6 of 6 people found the following review helpful
5.0 out of 5 stars Good music for an unlikely instrument April 30 2002
By Evan Wilson - Published on Amazon.com
Here's a disc that isn't likely to jump out at you and say "I need to be bought." Concerti for bassoon are rather rare, especially if you throw out Vivaldi's efforts in the genre. Mozart and Weber's early efforts are about all that bassonist have to work with. The lowest of the woodwinds just isn't the [] of soloists imaginable. (In fact, it's hard to think of a less [] regular instrument!!)
That all said, this disc makes a good case for a reappraisal of the bassoon's solo possibilities, particularly given the colorful and soulful playing of Graham Savage. Not everything here is profound, but all four concerti are quality music.
Pride of place goes to Eric Fogg's D Major concerto of 1931. This is incredibly beautiful which digs a lot deeper than one would expect. Fogg eschews the idea of the basson as either a grumpy curmudgeon or a silly clown. Instead, he lets the instrument sing, particularly in the lamenting slow movement. This is a piece all bassoonists should know.
The second best piece here is Peter Hope's Concertino, written in 2000. It opens mysteriously with a melody very reminiscent of the score from "Lord of the Rings." In fact, this piece is redolent in memorable themes, from the bluesy slow movement to the bouncy finale. Hope keeps threatening to veer into Holywood kitsch or popular music, but he never quite slips into banality. Instead, he produces a piece that is a lot of fun.
The Addison and Butterworth pieces are somewhat less engaging but are certainly listenable and pleasant. In fact, there isn't a single harsh sound on this disk even though everything is clearly of the 20th century.
Also missing is much of the Vaughan Williams pastorale school that one might expect to find in this type of music. This is a bonus because 75+ minutes of pastorale musings could make one run to turn off the player.
Instead, I found this a quite charming and attractive disc. If the bassoon intrigues you as a soloist, give this mid-priced disc a try. I think you'll find that the grumpy curmudgeon of the orchestra is a more engaging solist than you might think.
5.0 out of 5 stars A still somewhat neglected instrument. Sept. 13 2013
By Hoplon - Published on Amazon.com
Verified Purchase
These concertos are the best introduction to the virtuosity of the bassoon. Apart from Elgar's Romance for Bassoon and Orchestra there had been little, if any music written especially for this instrument so as to show its real chromatic range. With these works the listener may look forward to hearing that range expressed most ably and comprehensively by the very experienced Graham Salvage (arguably the finest bassoonist since Archie Camden) who is well supported by the Royal Ballet Sinfonia under the able baton of Gavin Sutherland in the performance of works by Fogg, Addison, Hope and Butterworth.
3.0 out of 5 stars The musical rewards are slim, but if the repertoire appeals ... March 12 2011
By G.D. - Published on Amazon.com
Verified Purchase
ASV's collection of rare British bassoon concertos is a useful one, but I am less sure it really warrants a general recommendation rather than a specialist one (I am sure lovers of lighter modern British music will want it). The concerto by Eric Fogg is the oldest one by some distance. Composed in 1931 it is a modestly charming piece; none of the themes are particularly memorable but it is well written for the instrument. John Addison is probably most famous as a film music composer, but his concertino (1998) is pleasant enough. It really explores the possible ranges of the instrument, but apart from some light fun it has relatively little to be remembered for. Peter Hope's concerto is the most recent one (2000) and also the least interesting one, sounding desperately anodyne and uninspired. Butterworth's Summer Music (1985) is lyrically wistful and generates some interest in the composer (well served on Dutton at the moment) even if it does not really succeed in holding the listener's attention either. I have no complaints about the solo playing of Graham Salvage, nor really about the contributions from Gavin Sutherland and the Royal Ballet Sinfonia (although they don't, understandably, always sound fully inspired by the music). The sound is good, and if the music sounds like it may appeal I won't warn you against it - but you shouldn't expect very much and if you pass over the disc you won't have missed very much either.
5.0 out of 5 stars Five Stars Sept. 18 2014
By josef cibulka - Published on Amazon.com
Verified Purchase
great English music.
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