Albinoni: 12 Concertos Op.10 - Toso, Carmignola, ISV, Scimone

Tomaso Albinoni
12 Concertos Op.10
Toso, Carmignola, I Solisti Veneti, Claudio Scimone
Erato 0630-11222-2

Unfortunately there is no review available for this specific release of Albinoni's Op.10. I can warmly recommend it though.

Albinoni: Oboe Concerti Vol.3 - The London Virtuosi, Georgiadis

Tomaso Albinoni
Oboe Concerti Vol. 3
Anthony Camden, The London Virtuosi, John Georgiadis
Naxos 8.553035

The London Virtuosi use modern instruments, but their playing is fresh and refined and the digital recording is natural and beautifully balanced. The calibre of Anthony Camden’s solo contribution is readily shown in slow movements, matched by Georgiadis’s rapt, sensitive accompaniments. On the first disc Camden’s excellent colleague is Julia Girdwood, but for the two other collections Alison Alty takes over, and the partnership seems even more felicitous, with the two instruments blended quite perfectly. Also included is a Sinfonia arranged by Camden a Sinfonia concertante. This series can be strongly recommended on all counts.

Penguin Guide Key Recording, January 2009

Albinoni: Oboe Concerti Vol.2 - The London Virtuosi, Georgiadis

Tomaso Albinoni
Oboe Concerti Vol. 2
Anthony Camden, The London Virtuosi, John Georgiadis
Naxos 8.553002

The London Virtuosi use modern instruments, but their playing is fresh and refined and the digital recording is natural and beautifully balanced. The calibre of Anthony Camden’s solo contribution is readily shown in slow movements, matched by Georgiadis’s rapt, sensitive accompaniments. On the first disc Camden’s excellent colleague is Julia Girdwood, but for the two other collections Alison Alty takes over, and the partnership seems even more felicitous, with the two instruments blended quite perfectly. Also included is a Sinfonia arranged by Camden a Sinfonia concertante. This series can be strongly recommended on all counts.

Penguin Guide Key Recording, January 2009

Albinoni: Oboe Concerti Vol.1 - The London Virtuosi, Georgiadis

Tomaso Albinoni
Oboe Concerti Vol. 1
Anthony Camden, The London Virtuosi, John Georgiadis
Naxos 8.550739

The London Virtuosi use modern instruments, but their playing is fresh and refined and the digital recording is natural and beautifully balanced. The calibre of Anthony Camden’s solo contribution is readily shown in slow movements, matched by Georgiadis’s rapt, sensitive accompaniments. On the first disc Camden’s excellent colleague is Julia Girdwood, but for the two other collections Alison Alty takes over, and the partnership seems even more felicitous, with the two instruments blended quite perfectly. Also included is a Sinfonia arranged by Camden a Sinfonia concertante. This series can be strongly recommended on all counts.

Penguin Guide Key Recording, January 2009

Albinoni: Complete Oboe Concertos - Robson, CM90, Standage

Tomaso Albinoni
Complete Oboe Concertos
Anthony Robson, Collegium Musicum 90, Simon Standage
Chandos CHAN 0579

Exaggerated attention to one of a composer's works can breed neglect of the others, as seems to have been the case with Al binoni and the famous (and spurious) Adagio. Recordings of this piece occupy over seven column inches in The Gramophone Classical Catalogue, while there is no period-instrument set of Op. 9 and none of any kind of Op. 7 on record. All the concertos of Op. 7 and Nos. 2, 5, 8 and II of Op. 9 are for solo oboe and strings or, better, for strings tvith oboe: the soloist complements rather than 'opposes' the ripieno, interacting with it and eschewing 'spotlit' virtuosity. Albinoni treats the oboe like a voice (another wind instrument), writing in mainly conjunct lines, whereas Vivaldi (whose oboe works ! were written at about the same time) has the agile violin more in mind. There isn't one 'filler' in either set, which means that there isn't one in the programme either, and the slow movements have tunes that stay in the mind.

Anthony Robson seems set to become the 'new David Reichenberg', velvet-toned but with the hint of an edge (matching that of the strings), phrasing flawlessly and alert to lyricism and poetry where they appear over the parapet. Collegium Musicum 90 are one of the very best baroque bands to emerge in recent years and here they are in their element. The recorded balance is just right, keeping soloist and strings in equal perspective. In every good sense these are listener-friendly works, and this recording bids strongly for a place on every shelf. It is good news indeed that Chandos will shortly be completing both of these sets.

JD, Gramophone Magazine 1995

Albinoni: Double Oboe Concertos & String Concertos - Volume I

Tomaso Albinoni
Double Oboe Concertos & String Concertos - Volume I
Robson, Latham, Collegium Musicum 90, Simon Standage
Chandos CHAN 0602

This is one of my favorite discs and it's a pity that it hasn't been reviewed yet. If you're a fan of Italian baroque instrumental music, and especially the oboe, you owe yourself to buy this cd.

It isn't St. Matthew's Passion, but it's not meant to be. This is very pleasant, upbeat, and tuneful music. The conductor has mixed Albinoni's violin and double oboe concerti together - I suppose in an attempt to mix the music up a bit. I haven't checked, but I'm pretty sure that if you buy both volumes you'll be getting all of Opus 7 and 9.

The performers are excellent. I don't have any dynamic criticism as far as that goes. The different instruments have just the right presence, and are balanced very well (no single instrument is unduly pronounced or drowned out). On some recordings of period instrument music the oboe can easily get drowned out, or the baroque guitar is impossible to hear, but here (to my taste at least) everything is exactly right.

As far as recording quality goes this cd is very good. It's very clean; there isn't any sort of echo or distracting sounds that occasionally appears in some recordings.

AAM has recorded all the oboe concertos on a cd, which I have listened to, but I prefer this Collegium Musicum disc as I find the bass in the Hogwood to be a bit heavy, the violin a bit more distant, and I can't hear the guitar at all (if it's even there). Not that the AAM disc is poor, but this one just has more clarity.

Amazon Customer Review

Albinoni: Double Oboe Concertos & String Concertos - Volume II

Tomaso Albinoni
Double Oboe Concertos & String Concertos - Volume II
Robson, Latham, Collegium Musicum 90, Simon Standage
Chandos CHAN 0610

My review of this disc is the same as Volume I. You would be equally satisfied buying either (or both) discs.

This is one of my favorite discs and it's a pity that it hasn't been reviewed yet. If you're a fan of Italian baroque instrumental music, and especially the oboe, you owe yourself to buy this cd.

It isn't St. Matthew's Passion, but it's not meant to be. This is very pleasant, upbeat, and tuneful music. The conductor has mixed Albinoni's violin and double oboe concerti together - I suppose in an attempt to mix the music up a bit. I haven't checked, but I'm pretty sure that if you buy both volumes you'll be getting all of Opus 7 and 9.

The performers are excellent. I don't have any dynamic criticism as far as that goes. The different instruments have just the right presence, and are balanced very well (no single instrument is unduly pronounced or drowned out). On some recordings of period instrument music the oboe can easily get drowned out, or the baroque guitar is impossible to hear, but here (to my taste at least) everything is exactly right.

As far as recording quality goes this cd is very good. It's very clean; there isn't any sort of echo or distracting sounds that occasionally appears in some recordings.

AAM has recorded all the oboe concertos on a cd, which I have listened to, but I prefer this Collegium Musicum disc as I find the bass in the Hogwood to be a bit heavy, the violin a bit more distant, and I can't hear the guitar at all (if it's even there). Not that the AAM disc is poor, but this one just has more clarity.

Amazon Customer Review

Albinoni: 12 Concertos - Manze, Bruine, Bernardini, Hogwood

Tomaso Albinoni
12 Concertos, Op.9
Andrew Manze, Frank de Bruine, Alfredo Bernardini,
The Academy of Ancient Music, Christopher Hogwood
Decca 458 129-2

Uninterrupted pleasure from start to finish.

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. Neither the formal content nor the musical style differs significantly from Albinoni’s earlier collection, Op. 7 (1715); each set includes four concertos for strings, four for strings with oboe and four for strings with two oboes. In the Op. 9 set, though, greater emphasis is placed on solo violin in the all-string pieces.

I seem never to tire of these endlessly charming works and it is this set that perhaps contains Albinoni’s crowning achievement in the concerto sphere, a lyrical Adagio for solo oboe with a simple string arpeggio accompaniment belonging to the Second Concerto. Its wistful, undulating melody lingers forever in the memory, outclassing in every conceivable respect the spurious G minor Adagio, which persists like a virus, but upon which, paradoxically, Albinoni’s reputation during the second half of the twentieth century has largely been established. There are many delightful slow movements in this set, but also some irresistibly sprightly ones. These belong mainly to the pieces for two oboes, the Third and Sixth Concertos of the set providing spirited examples.

None of this is lost either on the three accomplished soloists – Andrew Manze, Frank de Bruine and Alfredo Bernardini – or the strings of the Academy of Ancient Music which provide lively and sensitive support. In short, the set affords uninterrupted pleasure from start to finish.

Only one other complete rival period-instrument version currently appears in the catalogue; that is by Collegium Musicum 90 directed by Simon Standage. Readers who have that set will perforce also have Albinoni’s Op. 7 concertos which intermingle with Op. 9 throughout the three discs. Collegium Musicum 90 offers brighter-sounding performances with the addition of a guitar, theorbo or archlute providing effective variety to the continuo support. But intonation in the A major Concerto is less secure than the more unanimous playing of the Academy. These matters apart, the choice will be determined by taste, above all, perhaps, where individual oboe tone is concerned. Both sets, in their own different ways, project the unfailing charm of these warmly expressive, unassuming but beautifully crafted concertos. No collection should be without the Second, Sixth or Eleventh Concertos.

Nicholas Anderson, Gramophone Magazine

Albinoni: Oboe and Violin Concertos - I Solisti Veneti, Scimone

Tomaso Albinoni
Oboe and Violin Concertos
Pierre Pierlot, Jaques Chambon, Piero Toso, I Solisti Veneti, Claudio Scimone
Apex 0927 49020 2

A Penguin Guide * * * Recording.

Very little of Albinoni’s immense output of compositions has survived, unlike those of his better known contemporary Vivaldi. The two composers even lived and worked in close proximity in Venice. However, it is said that Albinoni’s instrumental music, unlike that of Vivaldi, is almost a by-product of his operatic music, with long breathed and eminently singable lines which remind many commentators of operatic ‘bel canto’. Albinoni was a most proficient singer and was fortunate to have a comfortable private income which allowed him to pursue a full time musical career, including the composition of over 50 operas.

On this Apex release seven of the twelve opus 9 concertos published in Amsterdam in 1722 are included, and they are indeed fine works. All the concertos are in the three movement fast, slow, fast, form that Albinoni was probably the first composer to use consistently in his concertos. Often accused of displaying a lack of harmonic finesse, these opus 9 concertos bear testament to Albinoni’s melodic gifts together with a pronounced individuality which was most probably due to the relative insularity of his life.

The highlight of the disc is the haunting and meditative adagio from the popular oboe concerto No. 2, which I feel must have been the inspiration and model for the main theme from Geoffrey Burgon’s 1980’s score to the TV drama Brideshead Revisited. In addition, the concerto No. 3 for double oboe is most appealing and proves to be a inventive work. In particular, the opening allegro is notable for the consistent flow of its musical line. For me, the concerto No. 1 for solo violin is the weakest and least memorable of all the concertos on this release, particularly when compared to those concertos for the oboe, which are clearly of a high melodic standard.

Pierre Pierlot, the oboe soloist, has a beautiful tone, and his playing is distinguished and easily conveys the spirit of the music. In addition, Jacques Chambon in the double oboe concertos and Piero Toso in the two violin concertos are expressive and fluent in their interpretations. Under the persuasive direction of Claudio Scimone the performance of the ensemble I Solisti Veneti invite admiration, displaying how assured they are in this repertoire.

The performances are naturally caught and mainly well recorded; however I would have preferred slightly more prominence in the bass line harmonies. The disc’s total timing of just over 71 minutes is generous but unfortunately Apex have provided sparse booklet notes and there is no information concerning the recording venue and dates. For the quality of the music, the standard of performance and the modest cost this disc will prove a welcome addition to any collection of late baroque music.

Michael Cookson, MusicWeb-International

Albinoni: Concertos Op.10 Nos.7-12 - I Solisti Veneti, Scimone

Tomaso Albinoni
Concertos Op.10 Nos.7-12
I Solisti Veneti, Claudio Scimone
Apex 2564 61256-2

A Sankerib Super Ultra Extra Plus Recording.

Albinoni: Concertos Op.10 Nos. 1-6 - I Solisti Veneti, Scimone

Tomaso Albinoni
Concertos Op.10 Nos. 1-6
I Solisti Veneti, Claudio Scimone
Apex 2564 61136-2

A Penguin Guide * * * Recording.

Four of the Op. 10 set are violin concertos (Nos. 6, 8, 10 and 12) and three are concerti grossi with a small concertino group and have non-fugal last movements. They radiate simple vitality, a love of life and a youthful exuberance that belies the composer's age. The playing is warm and musical, and the recording is made in an ample acoustic.

The Penguin Guide

Albinoni: Oboe Concertos - London Harpsichord Ensemble

Tomaso Albinoni
Oboe Concertos
Sarah Francis, London Harpsichord Ensemble
Regis RCC 1095

Francis is an immensely stylish & gifted soloist... accompanied with warmth and grace…recording is first class, full and naturally balanced (Penguin Guide)

Uninterrupted pleasure from start to finish... Strongly recommended (Gramophone)

Albinoni: Complete Concertos Op. 5 & 7 - I Musici, Carmirelli

Tomaso Albinoni
Complete Concertos Op. 5 & 7
I Musici, Carmirelli, Berlin Chamber Orchestra, Negri
Philips 464 052-2


For my music friend Alekhno. And everyone else...