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Mozart and
Well Beyond
Wolfgang Amadeus
MOZART (1756–1791)
Bassoon Concerto K191 (1774) [17.50] Marjan MOZETICH (b.1948)
Concerto for Bassoon and Strings with Marimba (2003) [7.22] Rodney SHARMAN (b.1958)
At Dusk for solo bassoon, strings and harp (2003) [7.22] Michael WELSH (b.1954)
Serenade for solo bassoon, strings and harp (2003) [25.06]
Michael
Sweeney (bassoon), Graham Hargrove (marimba), Erica Goodman
(harp)
The Seiler Strings and their guests/Mayumi Seiler
rec. Glen Gould Studio, Toronto, 13-15 June 2003 AFICONDO
A034401 [57:40]
As
a professional bassoonist I am much impressed by this fine
CD. Michael Sweeney is principal bassoonist in the Toronto Symphony
Orchestra and records works for solo bassoon in his spare
time. The Mozart Concerto is undoubtedly the highlight of
this album. However the ‘Beyond’ stage is well represented
by three contemporary works by Canadian artists. These works
give Sweeney a chance to shine, with his fine mastery, musicianship
and technique, on an instrument which is very difficult to
master.
The
Mozart bassoon concerto was written in 1774 and is the major
work of the bassoon repertoire. It is an early work and one
of Mozart’s first instrumental concertos. The first movement – Allegro – is
in standard sonata form. Here Sweeney displays his fine technique
by adding embellishments. Would Mozart have approved? I don’t
know. However they work very well here. Sweeney often plays
phrases an octave higher than written. This shows off his
fine technique in the upper register which is renowned for
its difficulty in fingering. Sweeney’s articulation is also
superb in the very difficult tongued passages. The cadenza
is particularly well executed. Although less technically
demanding, the second movement – Andante ma Adagio – offers
a good example of fine lyrical playing by Sweeney. The theme
of this movement later featured in the Countesses aria ‘Porgi,
Amor’ in the opera Marriage of Figaro. The last movement
is a Minuet. This one would be difficult to dance to and
can be described as a ‘concert’ minuet. This is a very enjoyable
recording by Sweeney and one of the best I have heard for
a long while.
Marjan
Mozetich is a contemporary Canadian composer as are Rodney
Sharman and Michael Welsh. Mozetich’s Concerto for bassoon,
string orchestra and marimba was premiered by Sweeney and
the Seiler Strings as part of the Via Salzburg series at
the Glenn Gould Studio in Toronto on 6 June 2003. It is a
virtuosic romantic post-modern work which was composed between
a close collaboration between the composer and Sweeney. The
music is beautiful, exploring the lower register of the bassoon
which is very difficult to play quietly. Mozetich was particularly
inspired by the bassoon concertos of Vivaldi and uses the
marimba in place of the harpsichord continuo. However there
are supreme high note passages and a touch of Minimalism
towards the end. This adds enjoyment to the whole piece which
rightly deserves to become a standard of the bassoon repertoire.
Rodney
Sharman’s ‘At Dusk’ began life as the first movement of his
large scale work for voices and orchestra ‘Love, Beauty and
Desire’. Sweeney himself commissioned this arrangement for
solo bassoon, harp, timpani and strings. Composed in a Modernist
idiom ‘At Dusk’ explores the atonal world of the bassoon
with its huge range and warm, dark, plaintive soul. Although
beautifully played by Sweeney it is probably the least appealing
track on the CD.
The
final work on the album is Michael Welsh’s ‘Serenade’. This
piece draws on various forms of the Serenade throughout the
centuries. Welsh again displays a great knowledge of the
various tonal possibilities of the bassoon. Captivating and
haunting throughout, displaying fine technique and mastery,
with exquisite tonal colours. I can’t stop listening to this
track which is enhanced by some gorgeous harp playing by
Erica Goodman.
This
CD is a must for all bassoon enthusiasts. Superb playing
throughout and a fine rendition of the Mozart concerto. How
wonderful to see the bassoon being used by contemporary composers.
Jazz on the bassoon does not work, but fine examples of modern
playing such as this certainly do.
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