This collection of four modern concertos for bassoon may appeal to teachers and students of the instrument, but few others will be drawn to this album by Sergio Azzolini and the Kammerakademie Potsdam. Not that the soloist or the orchestra are in any way at fault; to the contrary, the performances are all top-notch, and Azzolini is clearly a tremendously skilled bassoonist with a marvelous tone; and the accompaniment he receives is well-balanced and wonderfully shaded. The problem seems to lie instead with the composers, ...
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This collection of four modern concertos for bassoon may appeal to teachers and students of the instrument, but few others will be drawn to this album by Sergio Azzolini and the Kammerakademie Potsdam. Not that the soloist or the orchestra are in any way at fault; to the contrary, the performances are all top-notch, and Azzolini is clearly a tremendously skilled bassoonist with a marvelous tone; and the accompaniment he receives is well-balanced and wonderfully shaded. The problem seems to lie instead with the composers, who have found in the bassoon few expressive options, and essentially written utility pieces with little to recommend them beyond practical use. Paul Hindemith's bone-dry Concerto for trumpet, bassoon and string orchestra (1949-1952) is the most obvious piece of Gebrauchsmusik, but Heitor Villa-Lobos' chortling Ciranda das sete notas (1933) is only marginally more colorful and engaging. André Jolivet's Concerto for bassoon, harp, piano and string orchestra (1954) is...
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