Johann Wilhelm Hertel: Bassoon Concerto in A Minor (17XX)

00:00 - I. Allegro con spirito
06:18 - II. Grave
13:41 - III. Allegro di molto
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Bassoon: Sergio Azzolini
Conductor: Dominik Kiefer
Orchestra: Capriccio Baroque Orchestra
Year of Recording: 2010
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"The first half of the eighteenth century was an important time of transition in music history that linked the end of the Baroque period to the Classical era. The music of the early Galant style, which was written during this period, is commonly overlooked or undervalued. In order to gain a more thorough understanding of the stylistic traits and structures that led to the Classical period, a study of this music is important. Johann Wilhelm Hertel’s (1727-1789) bassoon concerti reflect the transition in style between the late Baroque and Classical eras. Hertel’s autobiography lists six bassoon concerti, but the three concerti selected for this study are the only surviving works. The Concerto in B-flat is the best example of a galant concerto with simple harmonies, three-part texture, mannered cadences and regular phrases. The Concerto in A minor is similar in many respects to C.P.E. Bach’s Concerto for Harpsichord in D minor, Wq. 23, in melodic construction, movements related by key, false returns, and a stormy character. It is possible that it was written in Berlin during Hertel’s year of study at the court of Frederick the Great. The Concerto in E-flat is the longest and most complex of the three concerti, and the score includes two horns and two oboes in the outer movements, and two flutes in the slow movement. The use of winds is significant, and indicates the Concerto in E-flat is probably one of Hertel’s later compositions. Although he composed a great deal of music, very few of Hertel’s manuscripts have been published. Currently, there are nine published wind concerti by Hertel, including the three bassoon concerti, three trumpet concerti, an oboe concerto, a concerto for trumpet and oboe, and a concerto for trumpet, two oboes, and two bassoons. As of this writing, the majority of Hertel’s works are not published, but the few pieces that have been issued are arguably among his best works" (Ashley Heintzen)
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Note: Baroque tuning is used for this recording, approximately one half-step under the printed pitch.
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