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V 1: Concerti Per Fagotto

Azzolini; L'aura Soave Cremona; Cantalupi , Vivaldi Antonio Audio CD

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Product Details


1. Concerto RV493: Allegro mà poco
2. Largo
3. Allegro
4. Concerto RV495: Presto
5. Largo
6. Allegro
7. Concerto RV477: Allegro
8. Largo
9. Allegro
10. Concerto RV488: Allegro non molto
11. Largo
12. [senza indicazione di tempo]
13. Concerto RV503: Allegro non molto
14. Largo
15. Allegro
16. Concerto RV471: Allegro molto
17. Larghetto
18. Allegro
19. Concerto RV484: Allegro poco
20. Andante
See all 21 tracks on this disc

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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 5.0 out of 5 stars  8 reviews
39 of 39 people found the following review helpful
5.0 out of 5 stars Earth-shaking performance July 3 2010
By Maurizio Cardelli - Published on Amazon.com
Format:Audio CD
The present CD is one of the most stunning recordings of the rich vivaldian discography. Albeit Klaus Thunemann with I Musici (Philips) offered (20 years ago) an excellent rendition of many concertos for bassoon by Vivaldi, and Tamàs Benkòcs has now nearly completed the registration for Naxos of the whole Vivaldi's output for the bassoon (the first 5 CDs of the series show his excellent bassoon playing), I was still left with the impression that the real richness and depth of these Vivaldi's concertos were still waiting for a true (re-)discovery. The present CD, the first one of the Naïve's Vivaldi Edition series to be entirely dedicated to the bassoon, fully centers this objective. The concertos played here are the numbers RV 493, RV 495, RV 477, RV 488, RV 503, RV 471, RV 484, and for the preparation of the present CD they have been the subject of a novel critical edition based on the original manuscripts. Sergio Azzolini plays as soloist and concertmaster with the Aurora Soave Ensemble: what you will ear is probably the most amazing bassoon playing available, accompanied by a young orchestra that reveals itself as one of the most sensitive and stylish existing baroque ensembles. Joy, melancholy, anger, grotesque and boldness are dispensed in different doses in these concertos, and are often mixed and juxtaposed (even in a same movement) to create a true kaleidoscope of emotions. Each one of these concertos is full of "dark and light" nuances, finely carved, and each one of them is depicted in its peculiar character, telling a different story: for example, RV 495 is astonishingly furious, RV 503 reminds pre-classical atmospheres, RV 471 shows joyful and never-ending imaginativeness, RV 484 (the best known concerto for bassoon) an inconsolable melancholy. All the central slow movements are rendered with incomparable beauty, with a nearly vocal eloquence that strongly reminds some of the most moving pages of the Vivaldi's operatic output, and with that sense of nostalgia that is often associated to the landscape of the venetian lagoon. Rarely the poetry of vivaldian slow movements has been played with the same respect and sensibility as by Sergio Azzolini in this disc: listen to the astonishing largos of RV493 and of RV503 to be convinced. Last note: the acoustic is perfect, quite warm, every sound is well separated, orchestra and soloist are perfectly balanced, basses are well represented . In conclusion, I can imagine that this earthshaking job by Sergio Azzolini and l'Aura Soave will probably change the overall perception of the Vivaldi's concertos for the bassoon in the same extent as Giuliano Carmignola "Late Vivaldi Concertos" did it for violin concertos. I warmly hope that the same team will be in charge for the realization of the remaining four or five discs of "Concerti per fagotto" that will be produced by Naïve for the Vivaldi Edition. This CD is an exciting and unavoidable addition to the disc collection of any music lover.
10 of 10 people found the following review helpful
5.0 out of 5 stars Opening a New World of Vivaldi Feb. 14 2011
By Grady Harp - Published on Amazon.com
Format:Audio CD
'Antonio Lucio Vivaldi (1678 - 1741), nicknamed il Prete Rosso ("The Red Priest"), was an Italian Baroque composer, priest, and virtuoso violinist, born in Venice.' So goes the dictionary explanation of this great Baroque composer. And though his works are still very frequently performed (such as the ever popular 'Le quattro stagioni' etc) there are works that deserve much more attention, works such as this collection of concerti for bassoon and orchestra.

This CD, VIVALDI: CONCERTI PER FAGOTTO I is fascinating on every level, form the creative cover photograph to the selection of some of the nineteen bassoon concerti the master wrote. The soloist here is Sergio Azzolini, born in 1967 in Bolzano where he studied the bassoon from 1978 to 1985 at the Claudio Monteverdi Conservatory of Music under the guidance of Romano Santi. This young soloist and conductor understand the spectrum of bassoon possibilities as well as any performer of this difficult instrument today. He is joined for this recording by the L'Aura Soave Cremona as conducted by Diego Canalupi and the work of all concerned, including the engineers of this album, is of the highest order.

Azzolini makes the largo and andante passages of these concerti as rich as cream and then moves in to the rapid movements with such agility that his technique is staggering. One would think that a CD of solely Bassoon concerti would begin to sound too similar, but it is to the credit of Vivaldi (and with the fine interpretations by Azzolini et al) that the recital remains wholly refreshing. This is a CD to cherish on every level - a testament to the genius of Antonio Vivaldi. Grady Harp, February 11
8 of 8 people found the following review helpful
5.0 out of 5 stars Masterpiece! Jan. 10 2012
By Kevin - Published on Amazon.com
Format:Audio CD|Verified Purchase
The sound is incredible and the energy is like you have never heard before. Never have been a huge basoon fan but now I am with this wonderful CD. You owe it to yourself to experience this. Just got volume 2 which is awesome too and hoping for more in the future.
5 of 5 people found the following review helpful
5.0 out of 5 stars Of the Fifty Finest Bassoon Concerti in History ... Feb. 6 2012
By Giordano Bruno - Published on Amazon.com
Format:Audio CD|Verified Purchase
... Vivaldi wrote thirty-nine! That's the number established as authentic by Sergio Azzolini and his vast network of musicological Nibelungen, though I've heard other estimates and there's also "hope" than a ream of others will be discovered in an attic in Prague or Bolzano. It appears that Azzolini and the ensemble L'Aura Soave Cremona have undertaken to record all thirty-nine; I'll be waited with bated breath ... though bating one's breath is never a good idea for a bassoonist. Sergio Azzolini is the baroque bassoonist sans pareil of the moment; he fingers his hefty double-tubed beast of an instrument with the dexterity of a recorderist, but his bassoon also sings madrigals. The capacity to sing suave melodies, to imitate the inflections of a human voice, is what distinguishes the baroque bassoon from the modern. Honestly, I know that the modern bassoon could also sing madrigals but its place in the orchestra has restricted and specialized it, so that most players never cultivate its full emotive range. Vivaldi was not, as far as anyone has discovered, himself a bassoonist; he was a violinist, and in fact the "French" bassoon of the type Azzolini plays had not yet achieved any vogue in North Italy during Vivaldi's early career. The bassenello/dulcian/curtal was still in common use in venice long after it had been replaced by the bassoon in Transalpine lands. Vivaldi's bassoon concerti, therefore, were mostly composed in his later decades, after he'd made contact with the musicians at the Court in Dresden. Thus they are among his most mature works, written with a desperate energy and phantasmagorical inventiveness by a composer who understand his own greatness but who felt that he hadn't achieved the status he deserved.

I've already reviewed Volume 2 of this "complete" recording project: Concerti Per Fagotto II

Ensemble L'Aura Soave Cremona, directed by Diego Cantalupi, performs Vivaldi with an audacity and exuberance that may well startle listeners accustomed to earlier, more moderate interpretations. This is Vivaldi with his red hair flying loose. The tempi are assertive and irregular, with the grandest possible emphasis of cadences and cadential silences. The basso continuo for this performance was formidably "basso", with two cellos, contrabass, two arch-lutes, and organ; the whole orchestration is deepened in tessitura so that the bassoon can in effect sing treble. The result is an integration of solo and tutti unlike any other recorded performance of any of the Vivaldi wind concerti. If your ingrained perception of Vivaldi is of a composer of jaunty 'elevator music, you'll quickly discover that you were all wrong. Vivaldi was big. Vivaldi was bold.

One warning, however. This recording has been engineered to reveal the richest timbres of the bass instruments. The lower range of sounds is so dense with frequencies that you must play the CD on a system with adequate speakers and preferably with a good sub-woofer. If you listen to it on bookshelf speakers, or on a mediocre system, I fear you'll be dissatisfied; all you'll hear will be rumble and distortion, and you'll wonder whether "your humble reviewer" has lost his ear.

But wait! What about the other eleven finest bassoon concerti? How about: Reichenauer, Michael Haydn, JC Bach, Mozart, Stamitz, Hummel, Weber, Villa-Lobos, Hindemith, Jolivet, & Gubaidulina.
2 of 2 people found the following review helpful
5.0 out of 5 stars Spectacular performances Nov. 24 2012
By Tero - Published on Amazon.com
Format:Audio CD
Firstly, you have to like the bassoon. The string parts are very good and make these concertos light and airy. But you need to like the bassoon to like the entire disc.

The bassoon concertos have escaped the period instrument boom (recordings) for the most part. They may put in one or two here and there. But most of the bassoon concertos were done on modern instruments for the most part, see Naxos under Vivaldi and bassoon.

Naive have released two full discs for bassoon and one with mixed bassoon and oboe concertos. The first disc has nicely selected, though my favorite concerto (RV 483) is actually on disc II.

Tempi are neither too fast or dragging slow in the largos and andates. The string are played well, a sort of conversation between the strings and bassoon. The disc of Concerti per archi (ripieni concertos) also shows how the string parts here are made. That is, the string parts are not for solo violin here.

I have heard recordings of these concertos for 30 years, and we are finally getting very close to how they were intended to be played.
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