Vivaldi: Six Bassoon Concertos (Thunemann, bsn.; I Musici). Philips 416 355 (all formats).
Klaus Thunemann plays the concertos in F (R. 485), Bb (R. 503), Eb (R. 483), a (R. 497) , C (R. 473) and G (R. 492) on this digital recording. As the six chosen do not duplicate those in his earlier collection, it would appear that he is well on his way to recording all of Vivaldi's concertos. As always, Thunemann's luscious tone and sure technique are in evidence here. So too is his interest in ornamentation: he goes overboard sometimes, but his ideas are always thought -provoking. However, the fast movements often have a driven quality which takes something away from the otherwise elegant ambiance.
Rating: 2 1/2 CROWS
Handel: Trio Sonatas (Holliger, Bourgue, ob.; Thunemann, bsn.; Jaccottet, hpsi.; Nagashima, cb.). Denon CD 38C37- 7026.
This Japanese recording (billed as being by the "Heinz Holliger Wind Ensemble") features the Sonatas op. 2, nos. 3-5, as well as the obscure Sonata in F for oboe, bassoon and continuo (from the Paderborn manuscript). The final selection is a Rigadoon, Bourree and March, creatively put together by Musica Rara from three different manuscripts. The percussionist (either Jaccottet or Nagashima?) is not identified. Heinz Holliger and Maurice Bourgue match styles so well that it is difficult to tell them apart. They even switch parts on one of the sonatas. Thunemann is the epitome of tasteful continuo playing, mirroring the oboes' melodic lines and utilizing discretion in vibrato and ornamentation. He provides excellent collaboration on the duo sonata. The balance is good; even the harpsichord projects well.
Rating: 2 1/2 CROWS
Zelenka: Sonatas for Two Oboes, Bassoon and Continuo (Glaetzner, Goritzki, obs; Sönstevold, bsn.; et al.). Capriccio 10 074 (No. 1-3), 10 075 (No. 4-6), (D-5020 Konigsdorf, W. Ger.).
This East-West German co-production is to my knowledge, the first complete set of Zelenka sonatas since the Holliger-Bourgue-Thunemann version came out a decade ago, and a welcome addition to the canon of Zelenka recordings they are. The strange, febrile spirit of Jan Dismas Zelenka (who wrote music "based on the irrational," according to W. Reich's notes) shines through in these elegant performances, fortuitously recorded in Dresden, where Zelenka worked for many years. While the earlier set is characterized by outstanding, individualistic playing, this new collection is more of an ensemble effort. While it lacks Holliger's and Co.'s manic intensity and copious program notes, this set gains style points every step of the way. Eberhard Glaetzner and Ingo Goritzki share solo duties equally, and Knut Sönstevold is outstanding.
Rating: 2 1/2 CROWS
Telemann: Selections from the "Constant Music Master" (Sous, baroque ob. and ob. d'amore; Stiftner, baroque bsn.; et al). DG Musikfest 415786 (LP and MC).
This recording is a recent rerelease of the 1967 Archiv 198430 and provides a look back at the state of original instrument playing two decades ago. The recording consists of twelve mostly-short solos and duos, and features such luminaries as Hans Martin Linde (flute), Otto Steinkopf (shawm) and Edward Tarr (trumpet). Alfred Sous gets the biggest workout, playing the Sonata in a and Suite in G on oboe, as well as the Napolitana in G on oboe d'amore. With the benefit of 20/20 hindsight, this recording sounds pretty dated indeed: lots of vibrato and modern-type interpretations. It's a reminder that baroque music is no easier to play, either stylistically or technically, on baroque instruments than it is on modern. Walter Stiftner tackles the Sonata in f and acquits himself quite well, considering that the piece is in one of the least user-friendly keys on the baroque bassoon.
Rating: 1 1/2 CROWS
Mozart: Concerto, K191 (Nakanishi, bsn.; London Mozart
Players; Jane Glover, cond.). EMI CFP 41 4484 1 (LP).
Sooner or later most recording bassoonists make a disc of the Mozart concerto. With so many versions in existence, it is difficult for soloists to distinguish themselves from the rest of their colleagues. Two recent versions stand out: John Miller's (PAD 195) for his beautiful melodic line and Milan Turkovic's (Telefunken 6.42361 AW) for his scholarly interpretation. Both have written their own cadenzas. Yoshiyuki Nakanishi, principal of the Nagoya Philharmonic, has an agreeable sound and a middle-of-the-road approach to our greatest concerto. Perhaps the most unusual feature of this performance in Nakanishi's treatment of the grace notes in bars 7-8 (and following) of mvt. 2 as straight sixteenths, rather than as usually played. The two uncredited cadenzas are notable for their brevity.
Rating: 2 CROWS
The Art of the Bassoon (Grossman, bsn., cond.; Collier, pno.). MHS 7456Z (LP), MCC 9456A (MC) (Musical Heritage Society, 1710 Highway 35, Ocean, NJ 07712).
That Marcel Farago's Phantasy on a Theme of Paganini is unknown to many bassoonists is probably due in equal measure to its difficulty and its unavailability. The recent publication of Maurice Allard's Variations on a Theme of Paganini, also based on the 24th caprice, makes a comparison of these two works timely. Arthur Grossman performs the Farago with his customary gusto, as well as tackling a variety of German, Swiss and Dutch music. After the Farago, he performs Almenrader's Pot-pourri, op. 40a., a campy yet charming example of the kind of salon music which is coming back into vogue all over. Grossman next performs Armin Schibler's accompanied Monologe, a compelling work which deserves a wider hearing. The concert closes with Juriaan Andriessen's Concertino (recorded not too long ago by Robert Thompson and the London S.O. Chandos ABRD 1033) and Henri C. van Pragg's Fantaisie, both with wind ensemble accompaniment.
Rating: 2 CROWS
Mozart: Divertimenti, K. 439b, no. 1-4 (Lawson, Archibald, cl.; Eustace, bsn.). Amon Ra SAR 25 (all formats) (The Barton, Inglestone Common, Badminton, Glos. GL 9 1BX, England).
Although Mozart's Divertimenti were probably originally written for basset horn trio, we are fortunate that the version for two clarinets and bassoon has gained wider popularity. The English ensemble Classical Winds turns in a proficient rendition of these lovely trios, although Frances Eustace has a few intonation problems with her anonymous French late- 18th century instrument. The excellent liner notes were written by Colin Lawson. He and Margaret Archibald play a perfectly-matched set of 5-keyed clarinets by D. Bangham after Roche (Paris, ca 1790).
Rating: 2 CROWS
Devienne: Three Quartets. (Walker, bsn.; et al.) Gallo 30-472 (LP)(CH-1411 Donneloye, Switzerland).
Kim Walker is a young American who has enjoyed a successful solo and orchestral career in Europe for almost a decade. She has played with the London Symphony Orchestra, l'Orchestre de la Suisse Romande, the Scottish Chamber Orchestra (to name a few) as well as being the former principal of the Biel Symphony in Switzerland. Ms. Walker has already made several tasteful baroque recordings for Gallo. On this disc she and three other members of the Alexander String Quartet perform the three Devienne quartets, which were published in 1798. These are polished interpretations, light and bubbly, and show off Ms. Walker's compact and singing tone.
Rating: 2 1/2 CROWS
RATINGS GUIDE
3 Crows = legendary
21/2 Crows = excellent
2 Crows = good
1 1/2 Crows = average