Other Sellers on Amazon
Vivaldi: Concerti per fagotto e oboe
|Price:||£13.91 & FREE Delivery in the UK on orders over £20. Details|
Fulfilment by Amazon (FBA) is a service Amazon offers sellers that lets them store their products in Amazon's warehouses, and Amazon directly does the picking, packing, shipping and customer service on these items. Something Amazon hopes you'll especially enjoy: FBA items are eligible for and for Amazon Prime just as if they were Amazon items.
If you're a seller, you can increase your sales significantly by using Fulfilment by Amazon. We invite you to learn more about this programme .
- Choose from over 13,000 locations across the UK
- Prime members get unlimited deliveries at no additional cost
- Find your preferred location and add it to your address book
- Dispatch to this address when you check out
Customers Who Bought This Item Also Bought
O111 379; OPUS 111 - Francia; Classica Orchestrale
Top Customer Reviews
Very cleverly, Opus 111 employ several means of ensuring that undivided attention on the six concerti featured here is never at issue. Recording quality is, as we've learnt to expect, outstandingly crisp and detailed. Solo playing, with Sergio Azzolini on the bassoon and Hans Peter Westermann on the oboe, is assured throughout.
The simple expedient of alternating the concerti for bassoon and oboe, meanwhile, provides for continual contrast, given the very different timbres of these instruments. Variation of colour is also heightened by thinning the texture of some of the tutti passages, so that different stringed instruments are, from time to time, thrown into relief. The occasional prominence of theorbo, lute, solo violin and cello all help to enliven what would otherwise be unexceptional passages of oboe playing, with rather predictable, repeated routines.
Noteworthy elsewhere are the sheer exuberance of the playing (RV545, 3rd movement especially) and the highly effective variation of tempi (in particular, the finales of RV461 and RV498).
Although Naxos have done wonders in rescuing lesser-known Vivaldi concerti like some of these from obscurity, this disc provides proof that it is worth shelling out a little more sometimes in exchange for those elusive but all-important qualities: refinement and creativity.
Most Helpful Customer Reviews on Amazon.com (beta)
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.