| ANTONIO VIVALDI (1678-1741) | ||
Bassoon Concerto in E minor, RV 484 |
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1 |
Allegro poco |
4. 24 |
2 |
Andante |
4. 16 |
3 |
Allegro |
3. 05 |
Bassoon Concerto in A minor, RV 498 |
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4 |
Allegro |
4. 01 |
5 |
Larghetto |
4. 21 |
6 |
Allegro |
2. 55 |
Bassoon Concerto in F, RV 489 |
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7 |
Allegro |
3. 55 |
8 |
Largo |
3. 43 |
9 |
Allegro |
3. 07 |
Bassoon Concerto in B flat, RV 502 |
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10 |
Allegro |
3. 17 |
11 |
Largo |
4. 40 |
12 |
Allegro |
2. 57 |
GIUSEPPE TARTINI (1692-1770) |
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Concerto à 5 in G for flute, strings and continuo |
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13 |
Allegro non molto |
3. 56 |
14 |
Andante |
5. 18 |
| 15 | Allegro | 2. 43 |
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Total playing-timing |
57. 31 |

VIVALDI |
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Just
as the “invention” of the organ concerto is more or less
credited to George Frideric Handel, it is fair to portray Antonio Vivaldi
as the pioneer of the bassoon concerto. Like its instrumental predecessor,
the dulcian, the bassoon was used exclusively as a basso continuo instrument
until the beginning of the 17th century, providing a basis for both
the melody and harmony. In 1645, nine sonatas by G.A. Bertoli for bassoon
and basso continuo were published, probably the first works written
for the bassoon as a solo instrument. By 1700, the introduction and
development of instrumental forms during the Baroque – such as
the solo concerto and three-movement sonatas – finally announced
a new era for the bassoon, in which Vivaldi was to take a leading role.
Since 1704, the Venetian composer had been employed by the Ospedale
della Pietà, an ecclesiastical educational institute for girls
(mainly for orphans and foundlings), as maestro di violino. As such,
he was also responsible for directing the sacred music. In Vivaldi’s
day, the orchestra formed by the girls at the Ospedale had an excellent
reputation, which stretched far beyond the city limits of Venice. |