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  • Vivaldi: Concerti per fagotto I (Vivaldi Edition)
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Vivaldi: Concerti per fagotto I (Vivaldi Edition)

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Audio CD, June 29, 2010
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Editorial Reviews

It is almost an understatement to identify Vivaldi as the most significant composer ever of bassoon concertos, since
the competition is so meagre.
Even within Vivaldi's own oeuvre, the thirty-nine bassoon concertos (two of them incomplete) form an impressive
group. The composer seems to have had a particular affinity with deeper instruments (the cello as well as the bassoon),
which brought out especially vividly the melancholy, reflective side of his temperament. Moreover, the bassoon
concertos are all works of Vivaldi's full maturity in fact, mostly of his last period, running from the later
1720s to his death in 1741 and have an incomparable rhythmic variety, boldness of form and attention to detail.
Not only the concertos for solo bassoon and strings but also a huge, diverse collection of works and movements
where Vivaldi employs the bassoon in other contexts (for example, in chamber concertos and concertos with multiple
soloists) show that he was in equal measure familiar with, and partial to, the instrument.


1. Bassoon Concerto, for bassoon, strings & continuo in G major, RV 493: Allegro mà poco
2. Bassoon Concerto, for bassoon, strings & continuo in G major, RV 493: Largo
3. Bassoon Concerto, for bassoon, strings & continuo in G major, RV 493: Allegro
4. Bassoon Concerto, for bassoon, strings & continuo in G minor, RV 495: Presto
5. Bassoon Concerto, for bassoon, strings & continuo in G minor, RV 495: Largo
6. Bassoon Concerto, for bassoon, strings & continuo in G minor, RV 495: Allegro
7. Bassoon Concerto, for bassoon, strings & continuo in C major, RV 477: Allegro
8. Bassoon Concerto, for bassoon, strings & continuo in C major, RV 477: Largo
9. Bassoon Concerto, for bassoon, strings & continuo in C major, RV 477: Allegro
10. Bassoon Concerto, for bassoon, strings & continuo in F major, RV 488: Allegro non molto
11. Bassoon Concerto, for bassoon, strings & continuo in F major, RV 488: Largo
12. Bassoon Concerto, for bassoon, strings & continuo in F major, RV 488: (senza indicazione di tempo)
13. Bassoon Concerto, for bassoon, strings & continuo in B flat major, RV 503: Allegro non molto
14. Bassoon Concerto, for bassoon, strings & continuo in B flat major, RV 503: Largo
15. Bassoon Concerto, for bassoon, strings & continuo in B flat major, RV 503: Allegro
16. Bassoon Concerto, for bassoon, strings & continuo in C major, RV 471: Allegro molto
17. Bassoon Concerto, for bassoon, strings & continuo in C major, RV 471: Larghetto
18. Bassoon Concerto, for bassoon, strings & continuo in C major, RV 471: Allegro
19. Bassoon Concerto, for bassoon, strings & continuo in E minor, RV 484: Allegro poco
20. Bassoon Concerto, for bassoon, strings & continuo in E minor, RV 484: Andante
See all 21 tracks on this disc

Product Details

  • Orchestra: L'Aura Soave Cremona
  • Conductor: Diego Cantalupi
  • Composer: Antonio Vivaldi
  • Audio CD (June 29, 2010)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Naive
  • ASIN: B003BWDE3E
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (9 customer reviews)
  • Amazon Best Sellers Rank: #143,530 in Music (See Top 100 in Music)

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Most Helpful Customer Reviews

45 of 45 people found the following review helpful By Maurizio Cardelli on July 3, 2010
Format: Audio CD
The present CD is one of the most stunning recordings of the rich vivaldian discography. Albeit Klaus Thunemann with I Musici (Philips) offered (20 years ago) an excellent rendition of many concertos for bassoon by Vivaldi, and Tamàs Benkòcs has now nearly completed the registration for Naxos of the whole Vivaldi's output for the bassoon (the first 5 CDs of the series show his excellent bassoon playing), I was still left with the impression that the real richness and depth of these Vivaldi's concertos were still waiting for a true (re-)discovery. The present CD, the first one of the Naïve's Vivaldi Edition series to be entirely dedicated to the bassoon, fully centers this objective. The concertos played here are the numbers RV 493, RV 495, RV 477, RV 488, RV 503, RV 471, RV 484, and for the preparation of the present CD they have been the subject of a novel critical edition based on the original manuscripts. Sergio Azzolini plays as soloist and concertmaster with the Aurora Soave Ensemble: what you will ear is probably the most amazing bassoon playing available, accompanied by a young orchestra that reveals itself as one of the most sensitive and stylish existing baroque ensembles. Joy, melancholy, anger, grotesque and boldness are dispensed in different doses in these concertos, and are often mixed and juxtaposed (even in a same movement) to create a true kaleidoscope of emotions. Each one of these concertos is full of "dark and light" nuances, finely carved, and each one of them is depicted in its peculiar character, telling a different story: for example, RV 495 is astonishingly furious, RV 503 reminds pre-classical atmospheres, RV 471 shows joyful and never-ending imaginativeness, RV 484 (the best known concerto for bassoon) an inconsolable melancholy.Read more ›
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11 of 11 people found the following review helpful By Grady Harp HALL OF FAMETOP 100 REVIEWERVINE VOICE on February 14, 2011
Format: Audio CD
'Antonio Lucio Vivaldi (1678 - 1741), nicknamed il Prete Rosso ("The Red Priest"), was an Italian Baroque composer, priest, and virtuoso violinist, born in Venice.' So goes the dictionary explanation of this great Baroque composer. And though his works are still very frequently performed (such as the ever popular 'Le quattro stagioni' etc) there are works that deserve much more attention, works such as this collection of concerti for bassoon and orchestra.

This CD, VIVALDI: CONCERTI PER FAGOTTO I is fascinating on every level, form the creative cover photograph to the selection of some of the nineteen bassoon concerti the master wrote. The soloist here is Sergio Azzolini, born in 1967 in Bolzano where he studied the bassoon from 1978 to 1985 at the Claudio Monteverdi Conservatory of Music under the guidance of Romano Santi. This young soloist and conductor understand the spectrum of bassoon possibilities as well as any performer of this difficult instrument today. He is joined for this recording by the L'Aura Soave Cremona as conducted by Diego Canalupi and the work of all concerned, including the engineers of this album, is of the highest order.

Azzolini makes the largo and andante passages of these concerti as rich as cream and then moves in to the rapid movements with such agility that his technique is staggering. One would think that a CD of solely Bassoon concerti would begin to sound too similar, but it is to the credit of Vivaldi (and with the fine interpretations by Azzolini et al) that the recital remains wholly refreshing. This is a CD to cherish on every level - a testament to the genius of Antonio Vivaldi. Grady Harp, February 11
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9 of 9 people found the following review helpful By Kevin on January 10, 2012
Format: Audio CD Verified Purchase
The sound is incredible and the energy is like you have never heard before. Never have been a huge basoon fan but now I am with this wonderful CD. You owe it to yourself to experience this. Just got volume 2 which is awesome too and hoping for more in the future.
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7 of 7 people found the following review helpful By Reviewer on February 6, 2012
Format: Audio CD Verified Purchase
... Vivaldi wrote thirty-nine! That's the number established as authentic by Sergio Azzolini and his vast network of musicological Nibelungen, though I've heard other estimates and there's also "hope" than a ream of others will be discovered in an attic in Prague or Bolzano. It appears that Azzolini and the ensemble L'Aura Soave Cremona have undertaken to record all thirty-nine; I'll be waited with bated breath ... though bating one's breath is never a good idea for a bassoonist. Sergio Azzolini is the baroque bassoonist sans pareil of the moment; he fingers his hefty double-tubed beast of an instrument with the dexterity of a recorderist, but his bassoon also sings madrigals. The capacity to sing suave melodies, to imitate the inflections of a human voice, is what distinguishes the baroque bassoon from the modern. Honestly, I know that the modern bassoon could also sing madrigals but its place in the orchestra has restricted and specialized it, so that most players never cultivate its full emotive range. Vivaldi was not, as far as anyone has discovered, himself a bassoonist; he was a violinist, and in fact the "French" bassoon of the type Azzolini plays had not yet achieved any vogue in North Italy during Vivaldi's early career. The bassenello/dulcian/curtal was still in common use in venice long after it had been replaced by the bassoon in Transalpine lands. Vivaldi's bassoon concerti, therefore, were mostly composed in his later decades, after he'd made contact with the musicians at the Court in Dresden. Thus they are among his most mature works, written with a desperate energy and phantasmagorical inventiveness by a composer who understand his own greatness but who felt that he hadn't achieved the status he deserved.Read more ›
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