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Langue disponible : anglais
In the panorama of musical instruments developed from the Renaissance up to our present day, a fundamental role was played by composers and often even instrumentalists and virtuosi of the instruments they wrote for. If the choice of one model of baroque bassoon for music from the early 1700s or a classical model for that of the early 1800s seems pretty much a given, one must pay close attention in determining the instrument suited to the performance of this ‘transitional’ repertory. This serves to guarantee not only a historically informed performance, but one which is also organologically correct.
At the root of instrument choice lie two fundamental considerations. Bearing in mind that the evolution from the baroque to the classical instrument developed in numerous intermediate stages, one is lead to believe that the older instruments were not immediately dismissed upon the arrival of a new model but continued their life for a certain number of years. In addition, every composer wrote for a specific model of instrument, taking full advantage of its features of extension and expressiveness. The instrumentalist of old found himself in a position where he had to be a virtuoso (that is, to play with ‘virtue’) to perform a specific repertory. ‘Virtuoso’ playing here means not the quantity and speed of the notes, but the capacity to fully exploit the instrument and do so in an extreme way, from extension to the expression of affects.
It is therefore clear that performing this repertory on a classical instrument would certainly be easier but would likewise be an anachronism. Furthermore, the nmost characteristic traits of each piece, and the repertory in general, would be distorted. Thus we have chosen to utilise two baroque bassoons for the recording. (A 'virtuoso' Bassoon by Sergio Azzolini)
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Sonata per fagotto e basso continuo (Gaetano Chiabrano)
L'Aura Soave Cremona (Davide Pozzi, Clavicembalo - Diego Cantalupi, Archlute) - Sergio Azzolini, Bassoon & Direction - Gaetano Chiabrano, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
L'Aura Soave Cremona (Davide Pozzi, Clavicembalo - Diego Cantalupi, Archlute) - Sergio Azzolini, Bassoon & Direction - Gaetano Chiabrano, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
L'Aura Soave Cremona (Davide Pozzi, Clavicembalo - Diego Cantalupi, Archlute) - Sergio Azzolini, Bassoon & Direction - Gaetano Chiabrano, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
Sonata per basso solo (Attrib. to G. Tartini) (Anonyme)
L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Attributed to Giuseppe Tartini, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Attributed to Giuseppe Tartini, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Attributed to Giuseppe Tartini, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
Sonata Op. IV, No. 2 per clavicembalo (Giovanni Benedetto Platti)
Davide Pozzi (L'Aura Soave Cremona), Clavicembalo - Giovanni Benedetto Platti , Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
Davide Pozzi (L'Aura Soave Cremona), Clavicembalo - Giovanni Benedetto Platti , Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
Davide Pozzi (L'Aura Soave Cremona), Clavicembalo - Giovanni Benedetto Platti , Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
Davide Pozzi (L'Aura Soave Cremona), Clavicembalo - Giovanni Benedetto Platti , Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
Sonata per fagotto (Jerome Besozzi)
Ai Ikeda, Bassoon - L'Aura Soave Cremona (Davide Pozzi, Clavicembalo - Diego Cantalupi, Archlute) - Sergio Azzolini, Bassoon & Direction - Jerome Besozzi, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
Ai Ikeda, Bassoon - L'Aura Soave Cremona (Davide Pozzi, Clavicembalo - Diego Cantalupi, Archlute) - Sergio Azzolini, Bassoon & Direction - Jerome Besozzi, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
Ai Ikeda, Bassoon - L'Aura Soave Cremona (Davide Pozzi, Clavicembalo - Diego Cantalupi, Archlute) - Sergio Azzolini, Bassoon & Direction - Jerome Besozzi, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
Sonata de bajón (Transcription of Violin Sonata, Op. 7/1) (Gaetano Pugnani)
L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Gaetano Pugnani, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Gaetano Pugnani, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Gaetano Pugnani, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
Sonata No. 1 per fagotto e basso (Francesco Ricupero)
L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Francesco Ricupero, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Francesco Ricupero, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Francesco Ricupero, Composer
(C) 2018 MV Cremona (P) 2018 MV Cremona
Chronique
In the panorama of musical instruments developed from the Renaissance up to our present day, a fundamental role was played by composers and often even instrumentalists and virtuosi of the instruments they wrote for. If the choice of one model of baroque bassoon for music from the early 1700s or a classical model for that of the early 1800s seems pretty much a given, one must pay close attention in determining the instrument suited to the performance of this ‘transitional’ repertory. This serves to guarantee not only a historically informed performance, but one which is also organologically correct.
At the root of instrument choice lie two fundamental considerations. Bearing in mind that the evolution from the baroque to the classical instrument developed in numerous intermediate stages, one is lead to believe that the older instruments were not immediately dismissed upon the arrival of a new model but continued their life for a certain number of years. In addition, every composer wrote for a specific model of instrument, taking full advantage of its features of extension and expressiveness. The instrumentalist of old found himself in a position where he had to be a virtuoso (that is, to play with ‘virtue’) to perform a specific repertory. ‘Virtuoso’ playing here means not the quantity and speed of the notes, but the capacity to fully exploit the instrument and do so in an extreme way, from extension to the expression of affects.
It is therefore clear that performing this repertory on a classical instrument would certainly be easier but would likewise be an anachronism. Furthermore, the nmost characteristic traits of each piece, and the repertory in general, would be distorted. Thus we have chosen to utilise two baroque bassoons for the recording. (A 'virtuoso' Bassoon by Sergio Azzolini)
Détails de l'enregistrement original : Recorded October 2008, Santuario di Ariadello, Soresina, Italy
À propos
- 1 disque(s) - 19 piste(s)
- Durée totale : 01:11:27
- Artistes principaux : Sergio Azzolini Davide Pozzi Ai Ikeda L'aura Soave Cremona
- Compositeur : Various Composers
- Label : MV Cremona
- Origine : Italie
- Genre : Classique Musique de chambre
- Période : Musique Baroque
(C) 2018 MV Cremona (P) 2018 MV Cremona
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