無制限ストリーミング再生
このアルバムをアプリから高音質で聴く
無料体験をはじめる このアルバムを再生するこのアルバムはQobuzアプリのサブスクリプションでお楽しみ下さい
登録このアルバムはQobuzアプリのサブスクリプションでお楽しみ下さい
デジタルダウンロード
このアルバムはお客様のニーズに合わせて様々なフォーマットで購入やダウンロードすることができます
対応言語:英語
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)
詳細はこちら
現在、試聴中です。
無制限ストリーミングプランで1億曲以上の楽曲を聴くことができます。
無制限のストリーミング プランで、このプレイリストと1億曲以上の楽曲を聴くことができます。
¥1,280/ 月から
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
アルバム·レビュー
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)
オリジナル音源の詳細 : Recorded October 2008, Santuario di Ariadello, Soresina, Italy
アルバムについて
- 組み枚数 : 1ディスク - 収録数 : 19曲
- 合計収録時間 : 01:11:27
- メインアーティスト : Sergio Azzolini Davide Pozzi Ai Ikeda L'aura Soave Cremona
- 作曲家 : Various Composers
- レーベル : MV Cremona
- エリア: Italie
- ジャンル: クラシック 室内楽
- 期間: バロック音楽
(C) 2018 MV Cremona (P) 2018 MV Cremona
Qobuzで購入する理由...
-
音楽をダウンロードする
ハイレゾを含むアルバムや楽曲を1曲ずつ購入できます。
-
DRMフリー
ダウンロードしたファイルは使用回数の制限なく、あなたのものです。 何度でもダウンロードすることができます。
-
自分に最適なフォーマットを選ぶ
購入した楽曲は、ニーズに応じて様々なフォーマット(FLAC, ALAC, WAV, AIFF...)でダウンロードすることができます。
-
購入した音楽をアプリで聴く
スマートフォン、タブレット、パソコンでも、各デバイス向けのQobuzアプリをダウンロードすれば、購入した音楽をどこでも聴くことができます。