Alfredo Bernardini is an Italian oboist and conductor, and the co-founder of the ensemble Zefiro. He is a specialist in Baroque oboe, and he has concentrated on early music for most of his career. He received his musical education in the Netherlands, where he worked with Bruce Haynes and Ku Ebbinge, and he earned his soloist diploma from the Royal Conservatory of The Hague in 1987. Bernardini has performed internationally with such ensembles as the Amsterdam Baroque Orchestra, the Bach Collegium Japan, Hespèrion XX, Le Concert des Nations, La Petite Bande, the English Concert, the Freiburger Barockorchester, and other major early music groups. In 1989, Bernardini joined Paolo and Alberto Grazzi in creating Zefiro, and their recordings have been released on Ambroisie, Astree, Naïve, Deutsche Harmonia Mundi, and Arcana. Bernardini has also recorded for CPO, EtCetera Records, and Auvidis, among other labels. He has taught Baroque oboe at the Conservatorium of Amsterdam and the Escola Superior de Música de Cataluña in Barcelona, and he has given master classes in Europe, Israel, and the United States. ~ Blair Sanderson
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Chamber Music - Released September 21, 2018 | Arcana
Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique
Following its highly acclaimed album featuring the three most richly scored Ouvertures (Gramophone Editor͛s Choice – shortlisted for the 2017 Gramophone Awards and included among the Top 10 recent Bach recordings), Zefiro comes full circle with the famous collection of Concerts avec plusieurs instruments, that kaleidoscope of colours that seems almost tailor-made to highlight the salient qualities of the ensemble founded by the three historical wind specialists Alfredo Bernardini, Paolo and Alberto Grazzi. Thanks to experience gained in countless performances and recordings with the leading conductors and ensembles, but also to thorough research into the most appropriate instruments and pitch (398 Hz, i.e. the ‘authentic' French pitch), this brand new recording exudes liveliness, flair and knowledge, and features some of the greatest names on the Baroque music scene, among them Cecilia Bernardini, Gabriele Cassone, Francesco Corti, Lorenz Duftschmid, Marcello Gatti, Gaetano Nasillo and Dorothee Oberlinger. Also included is the more intimate B minor Suite with flute (BWV 1067), thus filling the gap left by the earlier recording. © Arcana
Chamber Music - Released September 22, 2017 | Arcana
Hi-Res Booklet Distinctions 5 de Diapason
An ensemble selected from the excellent Capelle of Friedrich August I in Dresden, the Cammer-Musique and its leader, the phenomenal oboist Johann Christian Richter, inspired some of the leading German composers and Italian guests at the court around 1720 to write sonatas in which oboes and bassoon are challenged with extremely expressive and virtuosic parts. This was the time and place in which the largest amount of impressive music with oboe and bassoon as soloists in history was written. German composers such as Heinichen, Zelenka, Fasch and Quantz wrote these pieces in the Italian style, with the typical alternation between singing adagios and brilliant allegros. Telemann composed a sonata with ornamentation and affects inspired by the French style. Lotti, who resided in Dresden between 1717 and 1719, also noticed the outstanding skills of the court’s wind players and wrote his only solo pieces for these instruments there. Vivaldi met Richter during the latter’s visit to Venice in 1716, when he accompanied the Elector to the city, and he too dedicated some remarkable oboe and bassoon solos to the German musician. © Alfredo Bernardini/Arcana
Classical - Released September 6, 2019 | Arcana
After releasing all the Brandenburg Concertos and Orchestral Suites, Zefiro joins forces with authoritative singer Dominik Woerner to investigate the intriguing relationship between bass voice and reed instruments in Bach’s sacred cantatas. “Johann Sebastian Bach’s son Carl Philipp Emanuel tells us of his father’s talent as a singer: ‘He had a good penetrating voice of wide range and good singing style.’ It is therefore not surprising that the three church cantatas for solo bass are among his most exquisite and personal vocal works. Singing voice and instruments enter into a special relationship in these pieces. The dense yet sensitive polyphony is filled with a warmth and tenderness that seems to bring us closer to Bach, who is otherwise so ‘hermetically closed’. The ‘I’ voice in the poems of cantatas BWV 56 and 82 becomes the composer’s voice. Bach’s solo cantatas are precious gems whose subtle beauties go straight to the listener’s heart.” © Peter Wollny/Arcana
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