Added: 4 years ago
From: HARMONICO101
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  • This is great go bassoon!

  • how does he play like that?! wish I was that good! then again I am only 13 lol

  • THIS IS FANTASTIC!

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  • This bassoon actually sounds like an instrument and not a duck.

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  • @slothfat I love Vivaldi too but I think some people would strongly disagree with you regarding Bach or Mozart to say the least

  • love the sounddddd

  • the dynamics are amazing! i love listening to a piece that really moves!

  • Baroque Bassoon is so lovely to listen to.

  • This music is from the Gods.

  • the best recording of this pice than I have ever herd:) by the way could you upload rv 484 I think that the ones that are already one youtube are a bit lame, but played on a baroque bassoon...

  • It sounds a bit like cello in the beginning i like this piece vry much

  • Obviously every Vivaldi piece is loaded with talent, but for me this one stands out.

  • what is the style, genre, and form of this piece?

  • @HARMONICO101 Is the Baroque Bassoon pitched differently than the Modern Bassoon? I tried playing along to this and it sounded so wrong.

  • You used to have it in 480p..... what happened?? it just doesn't bring out the sound as before

  • @cmcas I don't know. I haven't done anything with it.

  • I am fasicnated that people can play these pieces on baroque bassoons. They're ridiculously difficult to play. My studio always jokingly calls it the "baroque-en bassoon".

  • I did this solo in 8th grade, I loved it.

  • qariss-

    Where you talking to me? Isn't what I said an opinion?

  • @slothfat I don't think I was replying to you.  However, certain things are an opinion and then others are statements of fact which can be wrong. If you say it's raining on a day it isn't, that's not an opinion, that a statement of fact that's wrong. There are certain characteristics of Baroque music, of music from any period, and there's no arguing that by saying that your wrong statement is an opinion.

  • this song sounds a lot harder then it really is

  • I must say, this is one of the few videos where I have to turn off the monitor to listen to my favorite bassoon piece; Vivaldi's portrait simply isn't very flattering!

    I know I shouldn't think about that stuff, but it is distracting!

  • As usual Harmonic 101 select the composer, the music and the musician to bring a first class video. Fantastic!!!

    Thank you!

  • I'm working on the first movement for a solo I'm doing soon. Very excited about it! :)

  • This is a great piece. Many thanx for posting!!!

  • It is astounding how much variation can come from Vivaldi's common theme of a decending or ascending phrase.

  • this is a great piece. With no intention to insult the virtuosity of the musician, i would like to comment that the bassoon sounds somehow different; the sound is abit more harsh, almost like a trombone. or is it just me? :) i had an armstrong bassoon and it sounds just like that.

  • It's a baroque bassoon. They have a much more raw and earthy sound than the modern (19th century) version. It's also apparently way harder to play.

  • oh i see.. thank u for telling. :)

  • @HARMONICO101 I wouldn't say harder to play... just a different experience.

  • @HARMONICO101 It's a "venetian" baroque bassoon! with a 440 pitch and even a rougher sound!

  • @HARMONICO101 it is a "venetian" baroque bassoon, with an even "rougher" sound than the german's one

  • @HARMONICO101 The baroque bassoon sounds so much better than the modern bassoon :(

  • @charlesdarwin55 "If it's not Baroque, don't fix it!" haha, Cogsworth would say the same thing!!!

  • @egrette it's a baroque bassoon. it's not neccesarily harder to play than the modern bassoon (i play both), but it does have a harsher, more raw sound. this piece in particular is one of the hardest to play on baroque, but much easier on a modern bassoon. However, if you listen to vivaldi's E- bassoon concerto, it's very difficult on the modern bassoon and easy on the baroque. it all depends on what piece you're playing.

  • @egrette it's a baroque bassoon. it's not neccesarily harder to play than the modern bassoon (i play both), but it does have a harsher, more raw sound. this piece in particular is one of the hardest to play on baroque, but much easier on a modern bassoon. However, if you listen to vivaldi's E- bassoon concerto, it's very difficult on the modern bassoon and easy on the baroque. it all depends on what piece you're playing.

  • @XHeartbrokenEmoGalX that's really fascinating about the e minor...it is a bitch on modern bassoon.

  • Wow, playing a lot with rhythm especially with some of the rests in the first movement. Not the way I would play it, but it is baroque.

  • Uno dei concerti per fagotto piu' belli che conosco.Questa versione dei "Suonatori della Gioiosa Marca" è molto bella.

    Anche il "Largo" e' molto bello.

    Grande Vivaldi!

  • I love the word bassoon. It's so fun to say. But anyways, a beautiful piece by one of the Baroque Masters of Composition. It's truly something distinct.

  • beautiful

  • The best music ...

    Vivaldi is a great master off classic music.

    Sorry for my bad inglish.

    - Brasil -

  • imagine that this has been written 300 years ago. People back than where a way more creative and intilectual. nowadays people earn millions with ridiculous popmusic. tough Baroque music is immortal !!! i will always love it

  • love the song

  • The beginning always scares me...

  • The harmony is very tense. then the very very DISTINCT bassoon and the bassoonist come in and it hits you! Scary indeed.

  • Can anyone explain DESH-ing via a musical example. Is the Baroque style just DESH under a different name?

    Thank you

  • I like the rustic playing--no vibrato, the clanging harpsichord.

  • To be perfectly honest, this entire concerto kept me from putting down my bassoon and walking off to more saxophone-y shores. The style is fantastic, and Azzolini's baroque tone is beautiful. Vivaldi's pretty genius :)

  • Moim skromnym zdaniem, fagot barokowy powiniem miec bardziej łagodny dźwięk, a tutaj stroik źle dobrany jest, bo dźwięk tego fagotu w pewnych chwilach przypomina saksofon. Ale ogólnie bardzo ładny koncert.

  • Oh my goodness! This is absolutely gorgeous!!! I love everything about this recording!

  • Nothing beats the sound of a period baroque ensemble+bassoon! The tempo fluctuations are perfectly within the performance style and adds to excitement. You'll find that written music does not convey every possible performance technique on paper.

  • I understand your point of speculation and interpreting the music but the style of the music itself calls for a faster tempo. Also your tone is a little nasaly for me. Also, way too much dynamic contrast, it just Baraque you know.

  • I personally think the tempo works wonderfully. It sounds different from the third movement with this tempo. This way, there is more variety in character, and therefore more interesting for the audience, not to mention that this tempo allows more room for the soloist to ornament. Vivaldi doesn't have to be manic and frantic all the time.

  • The nasally tone largely comes from the fact that the instrument in this performance is an actual Baroque bassoon, which is very different from it's modern counterpart.

    Also, BAROQUE MUSIC IS ALL ABOUT CONTRAST!! Contrast in dynamics, texture, and tone to name a few big ones.

  • I disagree. I think you are thinking of romantic music. Example: one of the most prominent instruments in the Baroque era is the harpsichord, which is entirely incapable of producing dynamic contrast. Alos, after listening to it again, the tempo varies too much. Baroque music is supposed to be structured. Its not impressionism.

  • That's not entirely true. The harpsichord (if it is a double manual) is quite capable of dynamic contrast, but not GRADUAL dynamic contrast.

    When I say Contrast in Dynamics I primarily refer to the contrast between the solo and tutti.

    Baroque music is not supposed to be rigid, and in particularily Vivaldi and other galant composers. This is music of wimzy and charm, and should not be played stifly and formally. Metronome's were not invented, so such strict rules of time were not so strict.

  • przmtlhed is right. Everything about Baroque music, from the style in which it is played to the actual structure of the music, suggests a very rigid interpretation. The harpsichord only serves to increase that feeling. After all, more sudden or tutti/solo dynamic contrast is found in classical style music than in baroque.

  • Have you studied Historically Informed Performance? I am currently. The score is nothing but the skeleton of the music, and is mean't to be interpreted and created upon. Improvisation was a vital part of playing music in the baroque era. If anything music became more rigid in the classical and romantic eras because the composer put in very specific directions for crescendi, descrescendi, dynamics, ornaments, phrasing, etc; all the things that the performer was responsible for in the baroque.

  • Really? Well, you learn new things every day.

  • One of the great joys of life! :)

  • @mozartisgodly : If you are interested, I'd recommend a great book on Early Music by the baroque oboist and musicologist Bruce Haynes, "The End of Early Music". A fun AND very informative read :-)

  • Dear Harmonico,That's a great explanation you gave to Mozart.Really it's about time we stopped treating the scores from any era as monolithic gods uneeding of of FULL human participation.Where is the line? That's for the performer and his audience in each performance to judge...

  • I would nevertheless prefer a rigid interpretation over an obscenely frivolous one. Despite the precise opinions of great composers there are people who feel that the historic practice of improvisation permits them the liberty to so inconsiderately. Over-embellishment was not a concept unheard of in the Baroque era and discouraged particularly of accompanist who would outperform the soloist. I sincerely doubt, for example, that Bach or Handel would have approved of the arrogant Ton Koopman.

  • You're very right Dolo...Händel would most probably chide Ton Koopman for being oft too literal and staid in his interpretations.

    You have my permission to attach clothes pins to your mipples and bow at the altar of twentieth century objectivist fidelity.

  • I find it amusing that so many suggest that the Baroque style with so much rule and structure is meant to have so little in its performance. The blame of this notion, no doubt lies in the fact that those such as yourself live in the era of performance and imitation, but composers you are not. It is little wonder then, that you can create disaster when taking something so delicate and intricate and having your way with it... You accuse me of some worship, yet you defend Koopman as a zealot.

  • True indeed Harmonico101. In the Baroque Era, a musician who simply played the score with what few indications were given (i.e. a few dynamic markings, tempo, or trills/mordents) would have been considered boring.

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  • That explains why when I was following the score to Vivaldi's Bassoon Concerto in E minor I frequently heard the player going off the score. I thought it was an error in the score but turns out it wasn't? How intriguing!

  • In Baroque music, musicians are allowed to add their own embellishments, as they are rarely written in the original score.

    Also, in concertos where the soloist doesn't have music, he can improvise some stuff to play along with the orchestra.

  • I'm sorry but that's wrong. HARMONICO101 is correct. Baroque music was meant to be improvised on, if only because the composers were actually in the orchestra and knew what they wanted to improvise on. And who was to tell them no? Music in the classical period was much more structured, which was a direct reaction to the improvisational aspects and attitudes of the Baroque period. You may be thinking of the short Roccoco period, but not the Classical.

  • hey if you find it... please upload the bassoon concerto in C Rv 477 is great. but careful with the CD's box info. hehe

  • very good playing. i'm a little confused as to why he can't keep one tempo though.. haha that was the hardest thing for me when i was learning this, but very good. i'm jealous of the articulation!

  • typicaly baroque music dosnt really change tempo, its usally just keeps going at the same tempo all the way through maybe with a rit at the end

  • This is a common misconception. Generally, yes, the tempo is relatively constant particularily in tutti sections, but a certain push and pull is allowed and encouraged in solos.

    There were alot less rules back then. :)

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  • Oooh - I love this! Such characterful playing. Although I am a "modern" bassoonist, I have to bow to this guys musicianship. Vivaldi is the rock n roll of his day!

  • As far as I can tell, this is as historically accurate of a performance as is possible today. It's certainly not the bassoon sound I've become accustomed to, but it's an intriguing glimpse into the heritage of the instrument.

  • The CD notes have a really indepth description of the baroque bassoon used in this recording. Peter de Koningh built an exact replica of an existing bassoon dating to vivaldi's time. it is the first reconsturction of a four-keyed bassoon tuned to a=440Hz which this recording claims to be the Venetian standard in Vivaldi's time. I've also heard that the Venetian standard was 415Hz but hey... who knows for sure?

  • Unfortunately to the rather low frequency of Hertzmeters in that time, we cannot know.

  • However, we have organs, brass instruments, woodwind instruments, and tuning forks from the period that can tell us what tunings were used.

  • Actually, I was making a joke. My unease with baroque tuning is that I play very intuitively, for instance, if I'm sight-reading on a baroque-tuned harpsichord, I would actually need to mentally transpose while playing, or else I would make so many mistakes. I also don't think of violin as fingerings so much as "this note" and "that note", so if I read baroque music on a baroque tuned instrument, I'll play at A=440 anyways.

  • the only people who can judge if this performance was "historically accurate" are the ones who are about 300 years old. the rest are corksniffing snobs ruining the music with their ignorance.

  • Whether this is accurate or not, I fail to hear how this ruins the music.

  • thats my point....so why some corksniffing elitists need to comment like they are 300 years old and know how it sounded then, is comical to me.

  • We have a very good picture of what playing was like back in the 18th century. We can't know for sure obviously, but for comparison, if you look at most ancient history (pre AD) much of it is speculative. If you look at science, much of it is based on THEORY not FACT.

    So, I see no reason why it's elitist/ignorant to comment on the historical accuracy of the performance.

  • because they werent there, period. you admitted yourself, its speculation. but people talk like it is fact, proven in a laboratory somewhere. that makes it elitist, snobbish and laughable.

    im sure if vivaldi was alive now and he played his concerto the way he did back then, these snobs would say it doesnt sound authentic because the pitch is off by a quarter and the tempo is to fast according to their amazing studies of that era.

  • It's not purely speculation. Historically performed performance is not based off a bunch of musicologists who out of the blue decided how they played back then. There are numerous treatises that survive today telling us proper period technique as well as instruments that have survived from the day for example. Why don't you do some research yourself before dismissing other opinions.

  • There are also so-called historically informed performance groups that play less authentically and more stylishly like Il Giardino Armonico and Europa Galante.

  • I don't see the point in this hirstorically correct purism. The whole idea behind musical notation is that you are able to play the piece without asking the composer what you're supposed to do.

  • That's certainly not the whole point in baroque music. The music is the basis from which the performers are supposed to build upon. Baroque music relies upon the skill and creativity of the performers.

  • I think it's interpreted beautifully.

  • This is the tempo of this concerto!!! Music speaks easly.. Great musician!!!

  • I like the bassoon sound. It's certainly not modern, but it sounds like a cello at times and other times takes a whoel character of its own and I think it's quite enjoyable. I certainly PREFER the modern sound, but this is nowhere near terrible.

  • whoever is playing that bassoon should be shot for death of a good instrument

  • What do mean? If you think its bad, then I'm not sure why.

  • I love the sound. It's got so much character. I don't think its that terribly different from the modern one either.

  • take a chill pill.... it's the bassoon....not the player....

  • He sounds like a swarm of bees buzzing out Vivaldi.

  • Ha, thats funny, I've always thought the bassoon, especially the baroque bassoon sounds like a goose.

  • I should say however, that I love that character of the instrument, and it's got an excellant rustic sound to it.

  • Thank you for sharing this video and the music of Vivaldi, he is one of my most favourite composers. I have this on tape by the European Community Orchestra,directed by Eivind Aadland played a lot faster which I prefer, but love the piece.

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