This recording is the third in a set of Vivaldi concertos from Azzolini and L’Aura. But there are certain places on this recording where L’Aura opts for a more transparent sound, as in the C major concerto RV 474, where the strings are reduced to one on a part. Azzolini plays a period baroque bassoon rather than a modern one, and the L’Aura orchestra is large by comparison comprised of 6 violins, and 2 each in the viola and cello section.Ĭompared with Jackson, Azzolini tends toward slower tempos, and the orchestral texture is much thicker. Right away, you’ll hear a difference in sound. For that reason, playing Vivaldi concertos on the modern bassoon with its added keys, extended range, and more even sound between the high and low registers, can sometimes run the risk of making this music sound almost too clean, or too easy.Ī 2012 Naïve recording from Sergio Azzolini, with the ensemble L’Aura Soave Cremona. But in Vivaldi’s time, the bassoon had fewer keys, a larger inner bore, and a smaller range than later bassoons. In these concertos, Vivaldi exploited the bassoon of his day, highlighting it as a solo instrument and pushing it to more virtuosic limits. ![]() It’s worth thinking about the differences between performances on a modern rather than baroque bassoon. While this recording utilizes several top baroque specialists in the early music field, it’s worth noting that Jackson performs on a modern bassoon.Įvery performance of old music is a re-creation of some sort, so while this isn’t a bona fide period instrument recording, Jackson does bring an authentically enjoyable and musically impressive performance. Here, Jackson performs Vivaldi bassoon concertos with Nicholas McGegan on harpsichord and Lucas Harris on lute and guitar, along with one on a part strings: Aisslinn Nosky and Julia Wedman (violins), David Rose (viola), Raphaél Dubé (cello), and Dominic Girard (bass). Working directly from Vivaldi’s manuscript in the Turin library, Jackson created her own performing editions of these pieces for this 2012 recording from MSR Music. Still, he contributed more to the bassoon repertory than just about any other composer before or since-and that’s something to pay attention to!Ĭertainly bassoonist, Nadina Mackie Jackson has. Its first recording of bassoon concertos by Vivaldi (OP30496) for the Naïve Vivaldi Edition was awarded the prestigious Diapason d’Or in France as best instrumental release of 2010.Vivaldi wrote 39 concertos for bassoon, though none were published during his lifetime. In the last few years L’Aura Soave has begun a close collaboration with the bassoonist Sergio Azzolini, whose role as both soloist and director has greatly influenced the orchestra. Among the noted soloists with whom it appears are Emma Kirkby, Barbara Hendricks, Sophie Daneman, and Nuria Rial. The group L’Aura Soave was formed in 1995 by lutenist and musicologist Diego Cantalupi with the aim of exploring Italian vocal and instrumental traditions and little-known Italian composers of the seventeenth and eighteenth centuries. He is also a member of the ensemble Parnassi Musici. As a baroque bassoon player he is a member of the Ensemble Baroque de Limoges, and appears regularly as soloist with L’Aura Soave Cremona, Sonatori della Gioiosa Marca and La Stravaganza Köln. ![]() Internationally renowned bassoonist Sergio Azzolini was born in 1967 in Bolzano, Italy. ![]() As with the first, the recording features the outstanding combination of the soloist Sergio Azzolini, an acknowledged expert in baroque performance, and the critically acclaimed period instrument group L’Aura Soave. This is the second volume of Bassoon concertos to be released by Naïve as part of the prestigious “Vivaldi Edition”.
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