Telemann is said to have transformed traditional trio sonatas as composed and performed in Germany from esoteric music for virtuoso players into a considerably more popular form. I am not sure what "popular" means, but what we have here is music of the highest order, performed by a group of accomplished musicians. Admittedly, the sound of period instruments is not always to everyone's taste (including, at times, mine), but here they work well with the material and the result is on the musical mark.

During the eighteenth century the knowledge that the bassoon could very well rise up to the virtuosic spheres was reserved for only rather small circles of hearers. In April 1736 a new bassoon star in the person of Johann Christian Klotsch came from Zerbst to Darmstadt. Christoph Graupner must have been extremely delighted to work with this talented musician; Klotsch had only recently been under contract in Darmstadt when he was given multiple opportunities to demonstrate his bassoonist’s skill in the Sunday cantatas. Since Graupner loved to experiment with innovative tone colors, he increasingly placed the bassoon in the spotlight in his cantatas. This development reached its height in 1741 with bassoon parts of concerto character in sixteen different cantatas.

Like each of its two predecessors in Naive's bizarrely costumed, irresistible Vivaldi bassoon concertos series, Sergio Azzolini and his back to the future original instrument crew find beauties in the music written for the bassoon that defy gravity. Interleaved with the haunting minor key songs and harmonies are courtly B flat expressions of affection and pleasure. The recordings, made at the Church of the Madonna della Formigola, Cortifella Pieve, Brescia, are audiophile as always. The great notes by Sergio Azzolini are titled Mystery of the Bassoon. The bassoon is in fact the instrument assigned the largest number of solo concertos after those written for the violin, the composer's own instrument.

Fireworks, virtuosity and bravura pieces are essential ingredients of Vivaldi’s concerto oeuvre. Discover or rediscover Vivaldi’s concertos played by the most prestigious artists.

Seine Bekanntheit im heutigen Musikleben verdankt Carl Stamitz hauptsächlich auch seinen Klarinettenkonzerten, die sowohl ästhetisch als auch gattungs- und musikhistorisch von nicht zu unterschätzender Bedeutung sind. Obwohl die genaue Anzahl seiner Klarinettenkonzerte nach derzeitigem Forschungsstand nicht zweifelsohne gesichert ist, werden ihm insgesamt 11 Klarinettenkonzerte zugeordnet, die vermutlich zwischen 1770 und 1790 entstanden sind. In der kompositorischen Behandlung der Klarinette bei Carl Stamitz zeigt sich, dass er versuchte die virtuose Seite der Klarinette auszuschöpfen, sie aber vornehmlich als Gesangsinstrument erkannte.

Johann Friedrich Fasch was a contemporary of Johann Sebastian Bach, and that has seriously hampered the interest in his music. It was the German musicologist Hugo Riemann, who at the beginning of the 20th century made an attempt to restore his reputation.

Bij Venetiaanse muziek van rond 1700 is de eerste naam die bij je opkomt: Antonio Vivaldi. Geen twijfel mogelijk. Moeilijker wordt het als je het nummer twee moet noemen: Albinoni? Marcello? Tartini? Voor luitist (en dirigent) Ivano Zaneghi was er maar één die qua roem en vaardigheden de vergelijking met Vivaldi kon doorstaan, en dat was Baldassare Galuppi (1706-1785). De verfijning in muzikale expressie en de elegante stijl van zijn wereldlijke en geestelijke composities zijn inderdaad opmerkelijk. Sommige van de stukken op deze cd bleven ongepubliceerd. De cantate 'La scusa', vermoedelijk uit de jaren 1770, is bewaard in een manuscript in de Venetiaanse Marciana bibliotheek.

Only now are we fully aware of the true immensity of Vivaldis concerto repertoire. The violin is by no means the only instrument he favored: the place of the bassoon in his work catalogue is remarkable for its size and stylistic homogeneity, as well as for his solistic treatment of an instrument previously confined to the continuo. Seven new concertos here join the twenty-six already recorded in the first four volumes of the Vivaldi Edition, an anthology Sergio Azzolini embarked on in 2009 with LAura Soave, and now builds on with LOnda Armonica.

The Vivaldi Edition is up to its astounding 54th volume with Concerti per Fagotto IV, and this collection introduces a selection of the finest Baroque works for bassoon. In a magical performance, the bassoonist Sergio Azzolini along with the L'Onda Armonica ensemble creates an indispensable recording that entices us into the pieces and compels us through each as if on a journey.

Like many of the performances in previous installments, these–three bassoon concertos, two for oboe, and one double concerto for oboe and bassoon–also are characterized by widely contrasting tempos, sharply delineated dynamics, and especially here, a stylish in-your-face approach. From bassoonist Sergio Azzolini’s quite audible intake of breath before beginning the Concerto in D minor and continuing throughout this captivating program, rarely have Vivaldi’s wind concertos been rendered with such a consistent sense of urgency, vitality, and well, attitude.

Graupner is best known as a composer of cantatas but this CD highlights his compositions in other genres. Ensemble il capriccio plays on replicas of historical instruments and here presents four bassoon concertos, a double concerto for bassoon and chalumeau, as well as Graupner’s only violin concerto in what are mostly world premeiere recordings.

Fireworks, virtuosity and bravura pieces are essential ingredients of Vivaldi’s concerto oeuvre. Discover or rediscover Vivaldi’s concertos played by the most prestigious artists.

Thirty-seven completed and two unfinished bassoon concertos, more than for any other instrument except the violin; Vivaldi must have had one terrific fagottista in that ospedale . Well, Sergio Azzolino is pretty good, too.
Michael Talbot’s sensible notes observe that the bassoon concertos seem to come from the latter part of Vivaldi’s career, though, as with much of Vivaldi’s work, exact dating is seldom possible. He attributes this to a void in Italy between the fading of the dulcian from the standard instrumental ensemble and the slow introduction there of the Franco-German bassoon.