St. Christopher Chamber Orchestra, Donatas Katkus, Andrius Puskunigis - Classical Oboe Concertos (2015)
BAND/ARTIST: St. Christopher Chamber Orchestra, Donatas Katkus, Andrius Puskunigis
- Title: Classical Oboe Concertos
- Year Of Release: 2015
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 01:03:45
- Total Size: 293 mb
- WebSite: Album Preview
Tracklist
01. Oboe Concerto in F Major, No. 1: I. Allegro
02. Oboe Concerto in F Major, No. 1: II. Adagio
03. Oboe Concerto in F Major, No. 1: III. Rondo, allegro con brio
04. Oboe Concerto in C Major: I. Allegro - Maestoso
05. Oboe Concerto in C Major: II. Adagio
06. Oboe Concerto in C Major: III. Allegro (Non) molto
07. Oboe d'amore concerto in A Major: I. Moderato
08. Oboe d'amore concerto in A Major: II. Adagio
09. Oboe d'amore concerto in A Major: III. Presto
10. Oboe Concerto in C Major, K. 314: I. Allegro aperto
11. Oboe Concerto in C Major, K. 314: II. Adagio non troppo
12. Oboe Concerto in C Major, K. 314: III. Rondo, allegretto
There are about one hundred classical oboe concertos, most of which were composed by oboists hoping to promote appreciation of their own skills. Following in their footsteps, the Latvian oboist Andrius Puskunigis has compiled a recording of four concertos for oboe and oboe d’amore that represent the classic Viennese style.
From around 1750, the oboe, an instrument hitherto largely used in chamber and church music, began to make its way into concert halls, and to be played by virtuoso soloists. The instrument’s construction was evolving to increase the penetration of its hi register, making it more suitable both as an orchestral and a concertante instrument. Even so, the oboe of Mozart’s day could still only play two keys, thus restricting its technical range of available music and expression. Mozart overcame those limitations most wholly successfully, as one might imagine, but none of the other works here is negligible. His friend Carl Ditters van Dittersdorf composed four concertos for the instrument and its close but obsolescent relative, the sweeter and gentler oboe d’amore, which is heard here in the A major concerto.
The first and most exuberant of three concertos by Giuseppe Ferlendis (1755 - 1810) opens the recording with pleasant and undemanding, slightly Haydnesque sequences. Then comes a greater rarity, the C major concerto by Leopold Hofmann (1738 - 1793) of more archaically Baroque cut, owing a little of its dash and brio to the Italian concertos for the instrument such as those composed by Vivaldi. In true classical style, the cadenzas for each concerto were composed/improvised by Puskunigis, who also contributes booklet notes which give valuable context to the Classical-era oboe and discuss the particularities of each composer’s writing for the instrument.
01. Oboe Concerto in F Major, No. 1: I. Allegro
02. Oboe Concerto in F Major, No. 1: II. Adagio
03. Oboe Concerto in F Major, No. 1: III. Rondo, allegro con brio
04. Oboe Concerto in C Major: I. Allegro - Maestoso
05. Oboe Concerto in C Major: II. Adagio
06. Oboe Concerto in C Major: III. Allegro (Non) molto
07. Oboe d'amore concerto in A Major: I. Moderato
08. Oboe d'amore concerto in A Major: II. Adagio
09. Oboe d'amore concerto in A Major: III. Presto
10. Oboe Concerto in C Major, K. 314: I. Allegro aperto
11. Oboe Concerto in C Major, K. 314: II. Adagio non troppo
12. Oboe Concerto in C Major, K. 314: III. Rondo, allegretto
There are about one hundred classical oboe concertos, most of which were composed by oboists hoping to promote appreciation of their own skills. Following in their footsteps, the Latvian oboist Andrius Puskunigis has compiled a recording of four concertos for oboe and oboe d’amore that represent the classic Viennese style.
From around 1750, the oboe, an instrument hitherto largely used in chamber and church music, began to make its way into concert halls, and to be played by virtuoso soloists. The instrument’s construction was evolving to increase the penetration of its hi register, making it more suitable both as an orchestral and a concertante instrument. Even so, the oboe of Mozart’s day could still only play two keys, thus restricting its technical range of available music and expression. Mozart overcame those limitations most wholly successfully, as one might imagine, but none of the other works here is negligible. His friend Carl Ditters van Dittersdorf composed four concertos for the instrument and its close but obsolescent relative, the sweeter and gentler oboe d’amore, which is heard here in the A major concerto.
The first and most exuberant of three concertos by Giuseppe Ferlendis (1755 - 1810) opens the recording with pleasant and undemanding, slightly Haydnesque sequences. Then comes a greater rarity, the C major concerto by Leopold Hofmann (1738 - 1793) of more archaically Baroque cut, owing a little of its dash and brio to the Italian concertos for the instrument such as those composed by Vivaldi. In true classical style, the cadenzas for each concerto were composed/improvised by Puskunigis, who also contributes booklet notes which give valuable context to the Classical-era oboe and discuss the particularities of each composer’s writing for the instrument.
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