It lasts about 13 minutes [1] and is considered one of the most difficult concertos in the instrument's repertoire. Echoing the Baroque slow-fast-slow-fast Sonata da chiesa , [3] it also displays influence from neo-classicism and jazz. The opening Recitativo displays the large range of the bassoon [3] in a sparsely accompanied tirade by the soloist, beginning with quiet, tense and angular statements in the high range, but becoming more and more agitated, frenetic and declamatory, often running up and down the instrument vigorously. Frequent pauses in the bassoon's monologue and dry, harsh punctuation add to the effect of "recitativo", and the final and most vehement statement morphs over a protracted trill and flippant F major resolution into the second half of the movement, Allegro gioviale , which features syncopated rhythms [5] throughout. The orchestra plays a jazz-like chromatic theme and builds darkly towards the bassoon's entry, which in turn plays an acrobatic, ironically jocular theme, rejecting the first one heard in the orchestra.

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Be the first to review this title. Like her father before her, Koyama has already forged an impressive career in Germany. In addition to solo work throughout her adopted country, as well as in much of Europe and beyond, she has been honored with a number of awards, including the German Music Award when she was 21, which occasioned this recording. She has appeared as an ensemble bassoonist with the Southwest German Chamber Orchestra, Pforzheim since and, more unexpectedly, with the Stuttgart Chamber Orchestra since she was Koyama is an impressive artist, and this recital shows off her talent well.

She has technical facility to burn, and it is this quality that distinguishes this varied program. If I were to find fault, it would be to suggest there is a youthful tendency toward overemphasis. First notes in or at the peak of phrases, and especially staccato notes, are at times almost pecked in the Vivaldi Concerto, to the detriment of the line. And while her phrasing is vital and imaginative, it is also occasionally graceless, especially in the Mozart where one admires the liveliness but misses the charm.

Interestingly enough, this is the same criticism I leveled at Karen Geoghegan in her recording of the Mozart Fanfare , which leaves me wondering if this reflects some new thinking regarding authenticity.

Koyama also displays a tendency to drive some notes too hard, turning her usually warm tone edgy and even at times buzzy. She only occasionally distracts from the admiration of her technical prowess in the demanding Fugato Finale with a return to the spiking of notes. This would likely be the preferred recording even if there were more to choose from, surpassing my previous favorite with Dag Jensen Capriccio , which is in any case out of print. An even more demanding work completes the program.

I must admit to a sigh when I saw the Carnival of Venice listing, but this one, a set of eight variations on the over-worn theme by Paganini, proves a cut above the usual arrangements essayed by bassoonists. It was originally for flute and piano, but by dropping the solo line two octaves, arranger Peter Beyer has created an absolute bear of a technical challenge for bassoonists, and his classy orchestration adds significantly to the fun.

Conductor Sebastian Tewinkle leads the Pforzheim ensemble with consistent stylishness and provides alert support for the soloist. The 17 strings, plus harpsichord, may be on the large size for Vivaldi by current thinking, but given their lightness and transparency the size proves just fine, and there is sufficient body for the greater demands of the Jolivet, with perfect balance with the piano and harp.

The soloist is rather close, which may exacerbate the impressions of tone and attack, but generally the sound is pleasing. So are the program and performance, which I have no problem recommending, despite matters noted. Grames Read less. Carnival of Venice, Op. Review This Title Share on Facebook. The perfect gift for the classical music enthusiasts! Gift Certificates.

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Bassoon Concertos by Vivaldi, Mozart, Jolivet and Genin / Koyama, Tewinkel



JOLIVET: Bassoon Concerto



Jolivet: Bassoon Concerto





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