Albinoni was, along with Vivaldi, the most famous composer of baroque concertos in the "new" three-movement form, with two fast movements enclosing a slower middle. Strangely enough, the Op. 9 concertos--the pinnacle ... more »of Albinoni's output in this medium--have never been issued complete on period instruments, so this release is certainly welcome on those grounds alone. More to the point, the performances themselves are spectacular. Composed for various solo combinations involving violin (the incomparable Andrew Manze) and two oboes (Frank de Bruine and Alfredo Bernardini), these 12 works offer an almost operatic abundance of good tunes, brilliantly played. Take, for example, the sensuous slow movement of Concerto No. 2 in D Minor. Baroque composers are almost always at their best in minor keys, but this piece (actually a major-key contrast to the outer movements), really ought to be as popular as Pachelbel's Kanon or even Albinoni's famous Adagio. It's gorgeous, sophisticated music of the highest quality, and utterly characteristic of the delights that await listeners to this marvelous set. In short, a baroque dream! --David Hurwitz« less
Albinoni was, along with Vivaldi, the most famous composer of baroque concertos in the "new" three-movement form, with two fast movements enclosing a slower middle. Strangely enough, the Op. 9 concertos--the pinnacle of Albinoni's output in this medium--have never been issued complete on period instruments, so this release is certainly welcome on those grounds alone. More to the point, the performances themselves are spectacular. Composed for various solo combinations involving violin (the incomparable Andrew Manze) and two oboes (Frank de Bruine and Alfredo Bernardini), these 12 works offer an almost operatic abundance of good tunes, brilliantly played. Take, for example, the sensuous slow movement of Concerto No. 2 in D Minor. Baroque composers are almost always at their best in minor keys, but this piece (actually a major-key contrast to the outer movements), really ought to be as popular as Pachelbel's Kanon or even Albinoni's famous Adagio. It's gorgeous, sophisticated music of the highest quality, and utterly characteristic of the delights that await listeners to this marvelous set. In short, a baroque dream! --David Hurwitz
CD Reviews
TO START THE DAY
GEORGE RANNIE | DENVER, COLORADO United States | 10/19/2005
(5 out of 5 stars)
"For a long time now, I've enjoyed starting my day with Albinoni. His music (even over Vivaldi's music) puts me in a very positive frame of mind to meet the challenges of the day. This recording on "original instruments" certainly starts my day most positively. The playing on this CD is breath taking. Hogwood and his Academy of Ancient Music are at their usual best delivering sharp and crisp performances of these works.
If you want to hear some of the finest examples of Baroque Composition coming from the very pinnacle of the period played exquisitely by one of the world's leading Baroque ensembles, buy this CD. By the way the sound is marvelous too.
"
Humble genuis
François Beaudoin | Québec ( Ville fortifiée), Canada | 10/19/2006
(3 out of 5 stars)
"Hogwood, Manze, Bernardini : with a list a stars of baroque music like this, I was thinking that I will hear some firework ! Unfortunetely,it is not the case here. It'not the fault of Hogwood. He has his usual ardour. We can feel his energy. No, I think the main problem is the composer, Tomaso Albinoni, himself. He does not authorize madness in exhibition, in virtuosity demonstration, and alas, in excess.
So the (beautiful) violon of Manze stay as good as gold ! The latter try to put, in the concertos number 1, 4, 7 and 10 , the maximum of energy he could in the spirit of the music written by the composer; but we stay on our appetite.
The oboes of Bruine and Bernardini, which have a huge place in this program, are sweet but not astounding.
The slow movements are very beautiful.
So, this music is pleasant but do not expect virtuosity here."
The reference performance
Ross Kennett | Narooma, NSW Australia | 02/04/2007
(5 out of 5 stars)
"To begin I would like to refer you to the review above by David Hurwitz, the top reviewer from classics today, I know he is good because I seldom disagree. This is a fine performance of Albinoni's Opus 9, 4 concertos for violin, 4 for oboe and 4 for 2 oboes. They are not concertos for a virtuoso soloist, rather they are concertos for oboe with orchestra, the music flows gently and beautifully. I do not find the violin concertos as interesting as the oboe because the violin blends with the string orchestra a little too well, whereas the oboe has a very different voice. (I could suggest that the violin concertos might be arranged for oboe or flute ?) I enjoyed comparing this recording with the modern instrument one by I Musici and Heinz Holliger from the mid 1960s, I Musici was the best chamber orchestra for baroque, and Hollinger was the best oboist, so it was the best at the time, and still sounds pretty good. This recording with period instruments is so different, the sound is not harsh, the result of the lower pitch, 415hz, and the gut strings, the music sounds serene and easy so that it seems slower, but the timings are much the same. In short, this is a very good baroque performance.
An interesting aside; Alfredo Bernadini, the second oboist, made his own oboe !"
Very good
noeton | Pennsylvania | 02/22/2008
(4 out of 5 stars)
"I find this to be a very good performance--were I able I'd give it 4 and a half stars. Those who like a good, tasteful period performance should be quite satisfied. That said, this reviewer often prefers a bit of extra verve, without going overboard as some young groups do these days. Rachel Barton's La Stravaganza is the finest example in this regard. This disc, however, does not have that added punch. Another reviewer attributes this to Albinoni himself, but that is absurd. It seems rather that Hogwood & Co. were going for a solid, 'historically accurate' performance where the composer 'speaks for himself.' They approach this ideal as well as one arguably can, but at the same time perhaps so does Barton.
The accoustic is very good, if somewhat sparse. The ensemble is set slightly to the background of the soloist, which thereby stands out just a bit too much. It does allow for nice languishing on the oboe melodies, however, which may be precisely the point.
There are moments of great beauty, as one should expect of old Tomaso, on this album. Yet the cost remains a bit high."
Track Listings (18) - Disc #1