Sergio Azzolini, Streicherakademie Bozen & Gerhard Egger - C.P.E. Bach: Bassoon Music (Werke für Fagott) (2011)
Sergio Azzolini, Streicherakademie Bozen & Gerhard Egger - C.P.E. Bach: Bassoon Music (Werke für Fagott) (2011)
Classical | WEB FLAC (tracks) & front cover | 985 MB
Label: Sony Classical | Tracks: 31 | Time: 210:23 min
Classical | WEB FLAC (tracks) & front cover | 985 MB
Label: Sony Classical | Tracks: 31 | Time: 210:23 min
The career of Carl Philipp Emanuel Bach (1714-1788) was unquestionably more illustrious than that of his father Johann Sebastian (1685-1750). Like his godfather, Georg Philipp Telemann, CPE took serious diplomas in law at the universities of Leipzig and Frankfurt before committing himself, at age 24, to the profession of music. He spent the next thirty years in the service of Frederick the Great of Prussia, and it has been that period of his life that has drawn the most attention from casual biographers. In fact, he was under-esteemed in Berlin; Frederick gave more royal attention to the works of JJ Quantz, Franz Benda, and CH Graun, while CPE produced much of his best music for other patrons. Like his father, he achieved his greatest fame during those decades as a keyboardist. In 1768, however, he succeeded Telemann as musical 'capo di tutti capi' in Hamburg, where his genius reached its culmination in large scale choral/orchestral works, masterpieces that are still somewhat neglected. CPE's stature among other composers of his era was preeminent. Mozart considered him the father of everyone and Haydn's musical training was based chiefly on the careful study of his works. The apotheosis of his father, JS Bach, which began in the 19th C, oddly eclipsed the accomplishments of the son, almost as if Bach worshipers felt a need to denigrate the too-successful upstart.
Did CPE recognize the extraordinary genius of JS? That's been an open question, especially since the son made a couple of incautious remarks suggesting that he considered his father's music crabbed and old-fashioned. My guess is that he spent his entire life 'subconsciously' competing with that awesome "Old Wig" of a Daddy. Did JS recognize the genius of his second son? It's hard to imagine that he didn't swell with paternal pride. My point of view is simply this: JS had every reason to be impartially proud of CPE, since CPE's musical oeuvre is in no way less magnificant than JS's. Do I hear 'pooh poohs' from the idolators? So be it! But listen to this 3-CD compendium of concertos, arias, and chamber works before you bleat too loudly.
None of the concertos performed in this program was composed for bassoon. All of them were published or labeled as works for "cello, flute, or keyboard" and they have been arranged for this recording by bassoonist Sergio Azzolini himself. There would have been nothing unseemly or abnormal about such 'borrowings' in the 18th C; re-arrangemements of concertos for different instruments was common practice. This program does include compositions that CPE designated for bassoon, specifically the Pastorale, the Trio in F major, and the Sonata in E flat major, plus two superb arias from oratorios with distinctive obbligato passages for bassoon. Those works that were originally assigned to bassoon make very different demands on the player. They 'explore' the lower timbres of the instrument, while the Azzolini-transcribed concertos brave the upper possibilities of the baroque bassoon. CPE's orchestra would have needed a virtuoso bassoonist of the highest technical capability to do what Sergio Azzolini does with these pieces. Azzolini is that virtuoso. His tone is richly vocal even in his highest passages. His fingers fly. His tonguing is as suave and athletic as a cornetto-player's. Aside from the quality of the compositions, it's a pleasure to hear such musicality from the bassoon. Azzolini is the most exciting bassoonist, baroque or modern, in the concert world today. And this performance proves beyond a doubt that the baroque bassoon can be played with as much perfection as any modern orchestral instrument.
Much has been written about CPE Bach as an advocate of "Empfindsamkeit" – sentimentality – in music. The notes to this performance stress his emotive harmonic effects as his most unique contribution to the development of the classical style. Frankly, I find that "Sturm und Drang" association a bit overstated. Listening to the whole texture of CPE's concertos and not just the flamboyant passagework, what I hear is a kind of solid intellectualism, a sense of musical structure as deep as that of his father's or his godfather's. That's my Platonic Idea of the Concerto, dazzling virtuosity supported by harmonic intelligence.
Tracklist:
CD1
01. Concerto for Bassoon in A Minor, Wq. 16: I. Allegro assai
02. Concerto for Bassoon in A Minor, Wq. 16: II. Andante
03. Concerto for Bassoon in A Minor, Wq. 16: III. Allegro assai
04. Willkommen Heiland (from "Auferstehung und Himmelfahrt Christi")
05. Concerto for Bassoon in A major, Wq 172: I. Allegro
06. Concerto for Bassoon in A major, Wq 172: II. Largo con sordini, mesto
07. Concerto for Bassoon in A major, Wq 172: III. Allegro assai
08. Gott, sieh Dein Volk im Staube liegen (from "Die Israeliten in der Wüste")
09. Concerto for Bassoon in B flat major, Wq 171: I. Allegretto
10. Concerto for Bassoon in B flat major, Wq 171: II. Adagio
11. Concerto for Bassoon in B flat major, Wq 171: III. Allegro assai
CD2
01. Flute Concerto in D Minor, Wq 22, Arr. for Bassoon and Orchestra: I. Allegro
02. Flute Concerto in D Minor, Wq 22, Arr. for Bassoon and Orchestra: II. Un poco andante
03. Flute Concerto in D Minor, Wq 22, Arr. for Bassoon and Orchestra: III. Allegro molto
04. Double Concerto for Harpsichord and Fortepiano in E flat major, Wq 47: I. Allegro di molto
05. Double Concerto for Harpsichord and Fortepiano in E flat major, Wq 47: II. Larghetto
06. Double Concerto for Harpsichord and Fortepiano in E flat major, Wq 47: III. Presto
07. Concerto for Bassoon in G major, Wq 169: I. Allegro di molto
08. Concerto for Bassoon in G major, Wq 169: II. Largo
09. Concerto for Bassoon in G major, Wq 169: III. Presto
CD3
01. Concerto for Bassoon, Strings and B.c. in D major, Wq 13: I. Allegro
02. Concerto for Bassoon, Strings and B.c. in D major, Wq 13: II. Un poco andante e piano
03. Concerto for Bassoon, Strings and B.c. in D major, Wq 13: III. Allegro assai
04. Pastorale for Oboe, Bassoon and B.c. in A minor
05. Trio for Viola, Bassoon and B.c. in F major, Wq 163: I. Un poco andante
06. Trio for Viola, Bassoon and B.c. in F major, Wq 163: II. Allegretto
07. Trio for Viola, Bassoon and B.c. in F major, Wq 163: III. Allegro
08. Concerto for Pianoforte, Strings, 2 Horns and B.c. in E flat major, Wq 35: I. (Allegro moderato)
09. Concerto for Pianoforte, Strings, 2 Horns and B.c. in E flat major, Wq 35: II. Adagio sostenuto con sordini
10. Concerto for Pianoforte, Strings, 2 Horns and B.c. in E flat major, Wq 35: III. Allegro
11. Sonata No. 5 for Pianoforte, Clarinet and Bassoon
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Copyright © 2008-2010 y-soft. All rights reserved
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FILE: 1.05. Concerto for Bassoon in A major, Wq 172 I. Allegro.flac
Size: 40807328 Hash: 8C593A92BE85401982100D8D946B26A1 Accuracy: -m0
Conclusion: CDDA 99%
Signature: 5C28FAC5B5FC95BF568268FCAF5E125BA0190BA2
FILE: 1.04. Willkommen Heiland (from Auferstehung und Himmelfahrt Christi).flac
Size: 51062554 Hash: 4F14E51814AD8DC13CB26A9A18AFE918 Accuracy: -m0
Conclusion: CDDA 99%
Signature: FDF54565C0E2281F5216A4494C5AE8F70A854C11
FILE: 1.03. Concerto for Bassoon in A Minor, Wq. 16 III. Allegro assai.flac
Size: 22127015 Hash: D6D892B3DDC55BBC359F149966D26759 Accuracy: -m0
Conclusion: CDDA 58%
Signature: C82C521F65D3B051EF242CE76A38E7738AF22D20
FILE: 1.02. Concerto for Bassoon in A Minor, Wq. 16 II. Andante.flac
Size: 32722658 Hash: 6B62260EA485F4C6E73098CD2696EA24 Accuracy: -m0
Conclusion: MPEG 89%
Signature: A08050F6172388F4227F8DA9228D6C6A6F3F4DFD
FILE: 1.01. Concerto for Bassoon in A Minor, Wq. 16 I. Allegro assai.flac
Size: 38924859 Hash: F3FD8612DC21940B4A28FD9824E9B386 Accuracy: -m0
Conclusion: CDDA 76%
Signature: 388CA50E4851592EB3CEBEB3EE94DE2D38469F81
Thanks to the Original customer.