January 14th 2013 Classical Release

Page 18

RELEASE DATE 14TH JANUARY 2013

VIVALDI: Concerti per fagotto III Sergio Azzolini Concertos RV 485 in fa maggiore, RV 502 in si bemolle maggiore, RV 474 in do maggiore, RV 480 in sol minore, RV 494 in sol maggiore, RV 475 in do maggiore As you would expect after the successful volumes 1 and 2, this is a very exciting recording, featuring the virtuosity and poetry of Sergio Azzolini. This 48th release in the Vivaldi Edition features a selection of the finest works for bassoon ever composed. Azzolini is like a magician with his instrument and with each CD Azzolini proves himself to be an artist of endless immagination and virtuosity and surpasses the one before. In the catalogue of Vivaldi’s works, the bassoon is in fact the instrument assigned the largest number of solo concertos after those written for the violin, the composer’s own instrument.There are 39 concertos for bassoon in the National Library of Turin, which means we are only just half way on this wonderful journey!

Label: NAÏVE File Under: Classical/Orchestral Catalogue No: OP30539 Barcode: 709861305391 NORMAL Price Format: 1 CD Packaging: DIGIPACK

ALSO AVAILABLE: OP30496 Concerti per fagotto I RV 493, 495, 477, 488, 503, 471, 484 OP30518 Concerti per fagotto II RV 499, 472, 490, 496, 504, 483, 470 IRR OUTSTANDING

Sergio Azzolini [bassoon] L’Aura Soave Cremona

“He is a baroque musician on a high level of imagination and inspiration... He makes these concertos all the more attractive and fascinating. This is music-making to cherish.” Gramophone

“Azzolini is a consummate master of his instrument and no matter what difficulties Vivaldi puts before the performer, Azzolini will transform it into something wonderful—his virtuosity is astounding, but he is equally gifted in his ability to shape melodies into something approaching enchantments.” Early Music Review

“A tour de force, Azzolini’s command of those concertos is breathtaking, maximising the power of Vivaldi’s music with an expressive palet beyond that often expected of period instruments.” Early Music Today


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