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Sergio Azzolini|Il fagotto virtuoso : Sonate italiane del s. XVIII

Il fagotto virtuoso : Sonate italiane del s. XVIII

L'Aura Soave Cremona - Sergio Azzolini

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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)



 

 

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Il fagotto virtuoso : Sonate italiane del s. XVIII

Sergio Azzolini

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Sonata per fagotto e basso continuo (Gaetano Chiabrano)

1
I. Allegro
Sergio Azzolini
00:04:58

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

2
II. Adagio
Sergio Azzolini
00:03:33

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

3
III. Allegro
Sergio Azzolini
00:03:23

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)

4
I. Adagio
Sergio Azzolini
00:05:34

L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Attributed to Giuseppe Tartini, Composer

(C) 2018 MV Cremona (P) 2018 MV Cremona

5
II. Allegro
Sergio Azzolini
00:04:25

L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Attributed to Giuseppe Tartini, Composer

(C) 2018 MV Cremona (P) 2018 MV Cremona

6
III. Tema e variazioni
Sergio Azzolini
00:05:50

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)

7
I. Fantasia (Allegro)
Davide Pozzi
00:03:54

Davide Pozzi (L'Aura Soave Cremona), Clavicembalo - Giovanni Benedetto Platti , Composer

(C) 2018 MV Cremona (P) 2018 MV Cremona

8
II. Adagio
Davide Pozzi
00:03:48

Davide Pozzi (L'Aura Soave Cremona), Clavicembalo - Giovanni Benedetto Platti , Composer

(C) 2018 MV Cremona (P) 2018 MV Cremona

9
III. Allegro
Davide Pozzi
00:01:39

Davide Pozzi (L'Aura Soave Cremona), Clavicembalo - Giovanni Benedetto Platti , Composer

(C) 2018 MV Cremona (P) 2018 MV Cremona

10
IV. Presto
Davide Pozzi
00:03:12

Davide Pozzi (L'Aura Soave Cremona), Clavicembalo - Giovanni Benedetto Platti , Composer

(C) 2018 MV Cremona (P) 2018 MV Cremona

Sonata per fagotto (Jerome Besozzi)

11
I. Allegro
Ai Ikeda
00:03:03

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

12
II. Adagio
Ai Ikeda
00:03:02

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

13
III. Presto
Ai Ikeda
00:02:32

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)

14
I. Allegretto
Sergio Azzolini
00:04:20

L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Gaetano Pugnani, Composer

(C) 2018 MV Cremona (P) 2018 MV Cremona

15
II. Larghetto
Sergio Azzolini
00:03:30

L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Gaetano Pugnani, Composer

(C) 2018 MV Cremona (P) 2018 MV Cremona

16
III. Tema e variazioni
Sergio Azzolini
00:04:17

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)

17
I. Allegretto
Sergio Azzolini
00:04:19

L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Francesco Ricupero, Composer

(C) 2018 MV Cremona (P) 2018 MV Cremona

18
II. Cantabile
Sergio Azzolini
00:03:19

L'Aura Soave Cremona - Sergio Azzolini, Bassoon & Direction - Francesco Ricupero, Composer

(C) 2018 MV Cremona (P) 2018 MV Cremona

19
III. Allegro
Sergio Azzolini
00:02:49

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

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