The general information regarding Vivaldi as presented in my article "The Recorded Oboe Music of Antonio Vivaldi (1678-1741)," Journal IDRS No. 11, 1983, as applied to the oboe also applies to the bassoon. The core of the present study is the role of the bassoon in concerto literature. Also, the bassoon could be an essential part of the continuo or be featured as part of the concerting. The latter role is also investigated.
Though Vivaldi composed more for the solo bassoon than for the solo oboe, none of the bassoon-featured works were published during the composer's lifetime. Without using transcriptions (e.g. sonatas for cello played on the bassoon, RV 38 through RV 47) he produced a total of seventy works: one trio sonata, seventeen chamber concertos, thirty-nine solo concertos, one double concerto, and twelve multiple concertos.
The technique of arriving at a firm identification presented for the oboe is applicable here. Should one know the Rinaldi or Opus number, the use of Table I produces a valid "RV" or Ryom number. One now has the key to enter Table V.
With Pincherle information Table II provides the key to Table V.
The entering of Fanna information into Table III produces information usable in Table V.
Finally, Malipiero (or Ricordi) numbers entered in Table IV produce information usable in entering Table V.
The master list of Table V brings together earlier information tabulated according to the Ryom Catalog. Here one finds all the identifiers, the basic key, sub-titles, scoring, other relationships, and a coding of phonodiscs.
Using the coding of phonodiscs, on entering Table VI one finds a list of phonodiscs plus a coding of performers. Entering Table VII, one finds an alphabetical list of bassoonists involved with Vivaldi plus a reverse coding.
In conclusion, there are bound to be missing links in this chain, yet there is enough information here to use in the same way as recommended for oboists.
Happy hunting, and fine playing!
About the writer . . .
George Arnold Conrey was born to George A. (M.D., D.O., D.Ph.) and Cornelia M. Conrey (professional singer) in Atwood, Indiana on October 31, 1919. His early years were spent in Indiana, Michigan, and in Harvey, Illinois (a Chicago suburb). His early membership in the Harvey Grade School Band led to further activities in music.
He holds degrees in science, mathematics, education administration, sociology, and musicology. His doctorate (in musicology) is from the Chicago Musical College (1955).
Now retired, he spent many years as teacher/professor/administrator in education from secondary through graduate-level college/university. He is published. He also has held memberships in numerous professional associations.
His general area of musical performance is in the woodwinds, with specialties on oboe and bassoon.