The cadenza is taken from Violin Concerto RV 212 per la S:ma Lingua di S. Antonio, final movement. czcams.com/video/b1AFyTUpkao/video.html&ab_channel=DelVivaldi
Thank you so much for this posting! A mature/late masterpiece pointing to the the rococo and pre-classical era. Azzolini never disappoints in his interpretations of Vivaldi’s bassoon concertos as he injects his real understanding of the bassoon and the seniority and the depth. We can hear that same sentiment in Vivaldi’s cello concertos, that depth and at times dark authority these lower-register instruments can impart
You did, as always, an amazing edition and research work. I will thank you at all times. On the other hand, I like the more the oboe version of this concerto (RV 457).
The manuscript of the oboe version presents itself not as a complete score but as a series of numbered passages detailing the changes to be made to the existing (bassoon) score. Only the solo part is notated. The numbers refer to passages in the present score that are similarly numbered. The second movement is however notated in full, and comes last.
In genere mi piacciono moltissimo le interpretazioni vivaldiane proposte da questo canale, ma le libertà che si prende Azzolino a livello ritmico sono eccessive (specialmente nel primo movimento)... peccato, questo concerto sarebbe invece molto bello!
The reason is that, unless there are exceptional versions by modern orchestras, I much prefer the sound of period instruments and forces. In this case, I could only find two versions. Pinnock, who is nearly always good, chose to ignore the indication "Allegro NON MOLTO" for the 1st movement ("non molto" may be a later addition, but still), and took it much too fast, which is a greater mistake. I thought the series with Azzolini started rather well, but they seem to have lost their way. I wish the excellent ZEFIRO would take over.
@@DelVivaldi Hai perfettamente ragione e concordo con tutto quello che hai scritto. Il secondo e terzo tempo sono decisamente più riusciti, il primo è troppo "stravolto". Capisco quindi il compromesso. Grazie di cuore per il grande lavoro che stai facendo con questi bellissimi video 😃
Hello! Nice to see you commenting again. That note is ambiguous on the manuscript, but looks like an F, and sounds like a perfectly fine suspension to me. As a matter of fact, most is not all of the Vivaldi Edition recordings are prepared from new editions made from the manuscripts, and have the benefit of undoing a lot of "corrections" made by Malipiero in the old Ricordi editions.
@@DelVivaldi thank you! The beginning of that measure shows clearly that Vivaldi used a E (mi) in the bass. Besides it is the only thing that makes sense, as violins I and II both have a E in the harmony, with violin II performing an accord of C in second poisition (3,6) which makes that suspension in the bass a clear blunder. More generally, I find the attempt at undoing Vivaldi 's corrections deeply concerning. Most recordings of the Vivaldi' s collected concertos do not take into account what he has actually written.
@@stellario82 Perhaps you're right about the mi. The "undoing" of Vivaldi's corrections on manuscripts is another matter. On the other hand, the "collected concertos" (published) are not in manuscript, so I'm not sure what you mean. I can say that perfect "versions" are rare, because most modern-instrument groups use flawed (old) editions, and period-instrument groups seek to reinvent the wheel too often. More Englishness is needed in period practice at this point in time, less Italianness! As for modern practice I do not care.
@@DelVivaldi Not sure what you mean by "Englishness" and "Italianness", I am a combination of both (British and Italian), and find it very enjoyable. That being said, I am glad we found an agreement on the rest of the argument.
@@stellario82 I was referring to the (recent) history of period performance practice in baroque music, and especially in Vivaldi, not to ethnicity or anything of the sort. But I think you know that very well.
The cadenza is taken from Violin Concerto RV 212 per la S:ma Lingua di S. Antonio, final movement. czcams.com/video/b1AFyTUpkao/video.html&ab_channel=DelVivaldi
The Bassoon Concertos... Vivaldi's finest works of one of my favourite instruments, thanks for this!
Thank you so much for this posting! A mature/late masterpiece pointing to the the rococo and pre-classical era.
Azzolini never disappoints in his interpretations of Vivaldi’s bassoon concertos as he injects his real understanding of the bassoon and the seniority and the depth.
We can hear that same sentiment in Vivaldi’s cello concertos, that depth and at times dark authority these lower-register instruments can impart
When I think of bassoon, I think of Vivaldi!
Muy lindo 😊, gracias a personas como usted muchos podemos disfrutar de este compositor tan talentoso gracias 👍
I love this concerto. Vivaldi’s textural experiments never end.
You did, as always, an amazing edition and research work. I will thank you at all times. On the other hand, I like the more the oboe version of this concerto (RV 457).
The manuscript of the oboe version presents itself not as a complete score but as a series of numbered passages detailing the changes to be made to the existing (bassoon) score. Only the solo part is notated. The numbers refer to passages in the present score that are similarly numbered. The second movement is however notated in full, and comes last.
In genere mi piacciono moltissimo le interpretazioni vivaldiane proposte da questo canale, ma le libertà che si prende Azzolino a livello ritmico sono eccessive (specialmente nel primo movimento)... peccato, questo concerto sarebbe invece molto bello!
The reason is that, unless there are exceptional versions by modern orchestras, I much prefer the sound of period instruments and forces. In this case, I could only find two versions. Pinnock, who is nearly always good, chose to ignore the indication "Allegro NON MOLTO" for the 1st movement ("non molto" may be a later addition, but still), and took it much too fast, which is a greater mistake. I thought the series with Azzolini started rather well, but they seem to have lost their way. I wish the excellent ZEFIRO would take over.
@@DelVivaldi Hai perfettamente ragione e concordo con tutto quello che hai scritto. Il secondo e terzo tempo sono decisamente più riusciti, il primo è troppo "stravolto". Capisco quindi il compromesso. Grazie di cuore per il grande lavoro che stai facendo con questi bellissimi video 😃
Beginning of the third measure, bass, blunder in the harmony for not following Vivaldi's sheet music.
Hello! Nice to see you commenting again. That note is ambiguous on the manuscript, but looks like an F, and sounds like a perfectly fine suspension to me. As a matter of fact, most is not all of the Vivaldi Edition recordings are prepared from new editions made from the manuscripts, and have the benefit of undoing a lot of "corrections" made by Malipiero in the old Ricordi editions.
@@DelVivaldi thank you! The beginning of that measure shows clearly that Vivaldi used a E (mi) in the bass. Besides it is the only thing that makes sense, as violins I and II both have a E in the harmony, with violin II performing an accord of C in second poisition (3,6) which makes that suspension in the bass a clear blunder. More generally, I find the attempt at undoing Vivaldi 's corrections deeply concerning. Most recordings of the Vivaldi' s collected concertos do not take into account what he has actually written.
@@stellario82 Perhaps you're right about the mi. The "undoing" of Vivaldi's corrections on manuscripts is another matter. On the other hand, the "collected concertos" (published) are not in manuscript, so I'm not sure what you mean. I can say that perfect "versions" are rare, because most modern-instrument groups use flawed (old) editions, and period-instrument groups seek to reinvent the wheel too often. More Englishness is needed in period practice at this point in time, less Italianness! As for modern practice I do not care.
@@DelVivaldi Not sure what you mean by "Englishness" and "Italianness", I am a combination of both (British and Italian), and find it very enjoyable. That being said, I am glad we found an agreement on the rest of the argument.
@@stellario82 I was referring to the (recent) history of period performance practice in baroque music, and especially in Vivaldi, not to ethnicity or anything of the sort. But I think you know that very well.