Romantic Music for Oboe, Bassoon and Organ Trio Andrea Palladio

• Théodore Lalliet (1837 - 1892): Terzetto, Op. 22:
• 1Terzetto, Op. 22: I. Introduzione06:19
• 2Terzetto, Op. 22: II. Andante maestoso05:11
• 3Terzetto, Op. 22: III. Rondò05:19
• Heinrich Molbe (1835 - 1915): Amourette faunienne in D Minor, Op. 73:
• 4Amourette faunienne in D Minor, Op. 73: I. Allegretto sostenuto07:34
• Giuseppe Verdi (1813 - 1901): Capriccio per fagotto e organo:
• 5Capriccio per fagotto e organo10:49
• Carl Friedemann (1862 - 1952): Ehestandsgeplauder, Musikalischer Scherz in C Major, Op. 54:
• 6Ehestandsgeplauder, Musikalischer Scherz in C Major, Op. 5405:33
• Stanislas Verroust (1814 - 1863): Fantaisie et variations sur "Il corsaro", Op. 54:
• 7Fantaisie et variations sur "Il corsaro", Op. 5409:17
• Eugène Jancourt (1815 - 1901): Concertino, Op. 40:
• 8Concertino, Op. 40: I. Allegro moderato, andante con moto, allegretto mazurka, moderato13:09
• Total Runtime01:03:11

Info zu Romantic Music for Oboe, Bassoon and Organ

Arrangements and original works for an unusual combination, celebrating the virtuosity of the Romantic-era bassoon.

Musicians’ desire to improve the agility and power of their instruments has always tended to go hand in hand with technological development: we may think of Bach and his organ and Beethoven and his piano as well as performer-composers such as Paganini and, in our own time, Jörg Widmann. Through the course of the 19th century the organ was also evolving, transcending the image of an exclusively liturgical instrument and gaining ground – and indeed range of tone-colours – in concertante roles.

Another 19th-century case in point was Eugène Jancourt, the bassoon virtuoso and composer, who brought about important changes in his instrument in order to extend its expressive potential. A longstanding performer and teacher at the Paris Conservatoire, he wrote a Concertino which transfers well to this combination of bassoon and organ, as does a Verdian rarity, discovered as recently as 2001, the youthful Capriccio.

A contemporary of Jancourt’s was the French oboist, composer and conductor Théodore Lalliet, who played solo oboe in the orchestra of the Paris Opera. His Op.22 Terzetto was conceived as a piano trio, but the fluid instrumental dialogue gains an attractive mellifluousness in this combination of oboe, bassoon and organ. Ehestandsgeplauder (Wedding Chatter) by Carl Friedemann and Amourette faunienne by Heinrich Molbe are lighter occasional pieces. Verdi’s Capriccio is complemented here by the inclusion of the Fantasie et Variations for oboe on themes of Il Corsaro. Its composer, Stanislas Verroust, studied music in Paris, where he then made a name for himself as an oboist and violinist as well as composing for the oboe and devoting time to teaching.

This combination of repertoire is unrivalled in the catalogue. The recording was made in 2017 at the cathedral in Vicenza, which hosts an organ built by Giovanni Battista De Lorenzi in 1878, replete with the technical innovations that enable rapid execution of the quicksilver shifts in volume and tone-colour demanded by this music.

An adventurous and original program with music written for the unusual combination of oboe, bassoon and organ in the 19-th century. Both solo instruments, the oboe and bassoon, excel in 19-th century virtuosity, while the organ functions as a quasi-orchestral accompaniment, providing colorful and powerful counterpoint. The CD contains a "first recording" of Verdi’s Capriccio for bassoon and organ, the other composers are Théodore Lalliet, Heinrich Molbe, Carl Friedemann, Stanislas Verroust and Eugène Jancourt, names fallen into oblivion but certainly composers of highly attractive and entertaining music!

Trio Palladio

Trio Andrea Palladio
was formed in Vicenza in 2008 by Enrico Zanovello. It is made up of professional instrumentalists with experience both as soloists and as members of chamber ensembles and orchestras of international fame. They have worked with musicians such as T. Koopman, A. Curtis, C. Stembridge, Andrea Marcon. The Trio focuses on the instrumental repertoire of the 18th and 19th centuries, adopting period performance techniques and playing on faithful reproductions of the instruments. In their style they strive to avoid mannerism, delighting audiences and critics throughout Europe with their performances. The Trio has recorded for the Tactus, Ricordi and Discantica labels.

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