Albinoni Oboe Concertos

String instruments and especially the violin demanded a key position in Baroque music particularly in Italy. Like many of his contemporaries Tomaso Albinoni composed a large number of pieces for string ensemble and many concertos for the violin. With his concertos for one and two oboes Albinoni more or less introduced a new genre. He did not copy Vivaldi’s violin concerto form but for both form and style drew on his vast experience as an opera composer. Most entertaining Baroque music elegantly performed by the Stuttgart Chamber Orchestra under Nicol Matt, with Stefan Schilli, oboe, and Tanja Becker-Bender, violin.

The artistry of Holliger (b1939) prompted Evelyn Rothwell (Lady Barbirolli) to call him 'The Paganini of the oboe' Holliger's mastery of the oboe ranges over a vast expanse of repertoire, from the baroque to contemporary – Bach to Berio and Zelenka to Zimmermann. His style is notable for its flexibility, agility, integrity and ability to communicate convincingly across the wide range of repertoire he performs. Holliger has done much to champion the oboe music of composers such as Zelenka and Krommer, and has also had over 100 works composed for him by composers including Berio, Carter, Henze, Ligeti, Lutoslawski, Penderecki and Stockhausen.

Of the program’s seven concertos, only two—one by each composer—are conventional solo concertos. Albinoni, who is credited with inventing the genre, actually wrote as many double concertos as solo concertos; two of them are included on the disc, along with a concerto grosso scored for an unlikely combination of five winds and continuo. Vivaldi, who refined Albinoni’s concept, is represented by a brace of concertos for pairs of oboes and clarinets. Therein lies the fun of this marvelous and unexpected release.

Bob van Asperen (born 8 October 1947 in Amsterdam) is a Dutch harpsichordist and early keyboard instrument performer, as well as a conductor. He graduated in 1971 from the Amsterdam Conservatory, where he studied the harpsichord with Gustav Leonhardt and the pipe organ with Albert de Klerk. Since then he has been performing extensively in Europe and the rest of the world, both as a soloist and as an accompanist/conductor.

During the 1990s, Collegium Musicum 90 and Simon Standage released several volumes of Albinoni concertos, which proved popular with critics and public alike. The concertos were released as discs of single oboe concertos, double oboe concertos, and string concertos. In this re-issue on the Chaconne label, the concertos are presented in opus number order, showing the contrasting colours and tonalities of the concertos as they originally appeared.

For consistently amiable, if undemanding entertainment, Albinoni’s concertos, with or without oboe, or oboes, are hard to beat. Christopher Hogwood and the Academy of Ancient Music here perform the 12 concertos contained in the collection published in 1722 as the composer’s Op. 9.

Not much is known about the life of Tomaso Albinoni. He was the eldest son of a wealthy Venetian paper merchant. The family was very well off, and in his adult life Albinoni was financially independent. He thought of himself as an amateur musician. Although completely trained in his art, he did not seek professional employment in music. He was a fine performer on the violin, and one of the most prolific writers of the violin concerto in the high Baroque. Initially Albinoni attempted to compose church music, but did not meet with much success. However in 1694, with the publication of 12 trio sonatas and the production of his opera Zenobia, Regina de Palmireni, Albinoni had found his milieu.