The oboe is one of the main instruments of the baroque period.
Numerous sonatas, suites and concertos featuring this double-reed
instrument have been written. It also figured prominently in
vocal works. It is easy to overlook the fact that it was not
until the early 18th century that the oboe was becoming a common
instrument in Italy. In the previous century it was France which
was the centre of oboe making and playing, and German composers
who were under the spell of the French style - in particular
the work of Jean-Baptiste Lully - introduced the oboe in Germany.
Only sporadically before 1700 was the oboe used in Italian music.
It was not earlier than 1698 that the chapel of San Marco in
Venice dismissed its last cornett player. His place was taken
by Onofrio Penati, who was a virtuoso on the oboe, and he was
paid the highest salary of the entire orchestra.
Venice wasn't only the place where the oboe was first introduced,
it also played a key role in the development and diffusion of
the oboe in Italy. Antonio Vivaldi wrote a number of concertos
for one or two oboes, some for the girls of the Ospedale della
Pietà. One of the girls developed into a celebrity, a
certain Pellegrina, nicknamed 'dall'Oboe'. But the Italians were
still heavily depending on influences from the other side of
the Alps. The first oboe teacher at the Ospedale, for instance,
was Ignazio Rion, who was probably of French origin.
The other double-reed instrument featured on this disc is the
bassoon, and this is an entirely different story. This instrument
had played an important role in Italian music since the 16th
century. The bassoon of around 1600 is today mostly referred
to as a 'dulcian', but originally it was just called 'fagotto',
like its early 18th-century counterpart. This instrument is quite
different from the earlier model, though, as it had three or
four keys and required a different finger technique.
This disc presents sonatas for one or two oboes and basso continuo,
some of which with an obbligato part for the bassoon. The first
item is a sonata by Antonio Lotti, who was born in Hanover, where
his father was acting as
Kapellmeister. In Venice he studied
with Legrenzi, sang as alto in San Marco and was acting as first
organist from 1704 to 1736, when he was appointed first
maestro
di cappella. The second movement of his Sonata a 4 contains
a virtuosic solo for the bassoon, whereas in the last movement
the bassoon mostly plays with the basso continuo. The third movement's
oboe parts are melodically quite unconventional; here the bassoon
plays almost exclusively in its lowest register.
Whereas Lotti was born in Germany - and here he must have become
acquainted with the oboe - Giovanni Benedetto Platti who was
born either in Padua or in Venice, spent the largest part of
his life in Würzburg. He was described as an "incomparable
oboist". He stayed at the court of Wiesentheid for some
time, and it is very likely the court had a virtuosic bassoonist
in its ranks as several of Platti's sonatas contain obbligato
bassoon parts. In his Sonata in G the oboe and the bassoon mostly
play in parallel motion or imitate each other. The Sonata in
c minor is more technically demanding as, for instance, the first
allegro contains brilliant solo passages for both oboe and bassoon,
and in the following
mesto the bassoon part contains large
leaps.
The most famous composer of this programme is Antonio Vivaldi.
He has written quite a number of concertos for oboe as well as
for bassoon, but very little chamber music, although both instruments
take part in a number of
concerti da camera. This trio
sonata is a nice work without being remarkable in its technical
requirements. The next piece, the Concerto by Giuseppe Antonio
Brescianello, is very different in this respect. The composer
was born in Venice, but in 1715 he became violinist at the court
of the Elector of Bavaria in Munich. Only a year later he moved
to the court of Württemberg in Stuttgart, where he was appointed
chief
Kapellmeister in 1717. He stayed here, with interruptions,
until his death. Being a violinist most of his compositions were
written for his own instrument. I therefore wonder whether the
Concerto played here was originally scored for oboe and bassoon.
It could well have been conceived for violin and cello, but unfortunately
the programme notes give little information about the individual
pieces. The second movement contains virtuosic passages in which
oboe and bassoon play in parallel motion. The third movement
is melodically rather unusual, and the last movement has a virtuosic
solo for the bassoon.
The programme notes also tell nothing about the short piece by
Agostino Steffani, born near Venice and who also made a career
in Germany. It is called an 'aria' in the track-list, and I was
thinking it could be one of the many vocal duets Steffani was
famous for, but in the worklist in New Grove I couldn't find
this title. This aria is followed by a second sonata by Lotti,
which is most remarkable for being composed in the style of an
'echo': phrases of the first oboe are answered by the second
oboe, which in this recording is placed in the background. In
the echo passages the basso continuo keeps silent, and only now
and then does the bassoon intervene with some notes as a kind
of replacement of the basso continuo. Although only the first
of the three movements is called 'echo' all of them contain echo
passages. The sonata's ending is quite original: after the last
echo the basso continuo plays a short phrase, and then the sonata
concludes with a bassoon phrase, without accompaniment.
The last work on this disc is a sonata by Francesco Montanari,
who was also known under the Christian names Antonio Maria. He
was a highly skilled violinist, who was a member of the orchestra
of Cardinal Ottoboni in Rome and participated in the performance
of Handel's oratorio 'La Resurrezione'. He is the only composer
on this disc who had no connections to Venice or Germany. This
sonata is the only piece in his oeuvre for wind instruments.
Most noticeable is the brilliant middle movement with its many
sharp accents.
As this disc contains no fewer than five pieces which have never
previously been recorded it is to be recommended to anyone interested
in baroque chamber music, and in particular music for wind instruments.
The performances are technically immaculate, and the players
let no particularities in these sonatas pass by unnoticed. The
sound of the oboes is somewhat different from what one is used
to hear from German or English players. Giuseppe Nalin and Marco
del Cittadino produce a little more strident and open sound,
a little less polished. One could perhaps also have some trouble
with the contributions of the archlute which sometimes show a
bit too much presence. But the basso continuo does what it is
supposed to do: not only providing the harmonic foundation but
also driving the ensemble forward. In short, this is a well-executed
and well-recorded programme of music which fully deserves our
attention. The booklet contains an informative overview of the
development of the oboe and the bassoon in Italy, but more information
about the composers and the compositions had been welcome.
Johan van Veen