Italian Oboe Concertos Volume 2 M station -----> Classical Music Reviews

Italian Oboe Concertos Volume 2

Giovanni Platti (before 1692-1763) Concerto in G minor for oboe, strings
and continuo		[12'33"]

Antonio Salieri (1750-1825) Concerto in C major for flute, oboe and
orchestra		[19'06"]

Carlo Besozzi (1738- after 1798) Concerto no 1 in C major for oboe and
orchestra		[21'30"]

Antonio Rosetti (c1750-1792) Rondeau in F major for oboe and
orchestra			[3'52"]

Anthony Camden - oboe Peter Lloyd - flute The City of London Sinfonia
directed by Nicholas Ward

Recorded in St Paul's Church, Southgate, London; 2-4 August 1999 [Platti
and Salieri] And All Saints Church, East Finchley, London; 15 March 1997
[Besozzi and Rosetti]

Naxos 8.554772						[57'01"]

Lesser-known works for oboe and orchestra add a second disc to the
successful Naxos release of concerti by Corelli, Cimarosa, Bellini and
others on Naxos 8.553433 played by the same artists. In this new
release, some of which was recorded over four years ago, Anthony Camden
is found to be in fine form. A distinguished soloist with many years as
an orchestral principal behind him, Camden's fusion of the soloist's
line with the accompanying orchestral textures brings out the chamber
music aspect of these beautiful works with delightful clarity. The
flexibility of his tone is admirable and creates not only some beautiful
slow lines with seemingly effortless breathing, but allows the sprightly
bite of the fast passages to have an almost period instrument flavour.

The City of London Sinfonia, while providing some excellent playing in
the tuttis, has a few rough edges in the accompaniments. This is
particularly apparent in the Platti concerto - the earliest of the works
on this disc. The shaping of accompanying string figures needs much more
light and lift in this chamber music style baroque repertoire and the
Sinfonia strings do come across here as somewhat old-fashioned in their
rather stodgy approach.

In the later repertoire they are much more at ease, and the Salieri
Concerto shows of the orchestra and the soloists well. This best known
of Salieri's orchestral works is still not as widely appreciated as it
deserves to be. The opening movement in particular brings out some fine
phrasing and a well-balanced sense of the dialogue not only between the
two soloists, but also between the soloists and the orchestra. The flute
playing of Peter Lloyd, while employing a modern metal flute which is in
many ways an unfortunate choice timbrally, has a style and sympathy for
the lines and small gestures that almost makes up for it aurally. He is
perfectly blended with the oboe throughout.

With the prevalence of period instrument recordings of the baroque and
classical repertoire it is interesting to hear a modern instrument
group, with modern instrument soloists, still willing to record this
repertoire. The result overall, when given a soloist of the distinction
of Anthony Camden, makes for a listening experience of great joy. The
sheer musicality of his playing, no matter what instrument he chooses to
use, over-rides all else.

Thoroughly recommendable.

(c) Peter Wells 2001
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