JOSEPH BODIN DE BOISMORTIER, SONATAS FOR BASSOON AND CONTINUO OP. 50 & PIECES DE CLAVECIN - PAOLO TOGNON, PIETRO PASQUINI

JOSEPH BODIN DE BOISMORTIER, SONATAS FOR BAGOTTO AND CONTINUO OP. 50 & PIECES DE CLAVECIN ( CVLD208 )

Author : JOSEPH BODIN DE BOISMORTIER
Performer : PAOLO TOGNON, PIETRO PASQUINI

Tracks

1 L’Imperièuse (troisièeme suite de pieces de clavecin) (1736) 3:03
Sonata Ia in Mi minore per fagotto e basso continuo op. 50 (1754)
2 Andante e Staccato 1:24
3 Allemanda (allegro) 2:26
4 Aria (affettuoso) 2:41
5 Gavotta (presto) 2:35
6 La Rustique (seconde suite de pieces de clavecin) 2:09
Sonata IIa in Sol maggiore per fagotto e basso continuo*
7 Largo 2:41
8 Allemanda (allegro) 2:44
9 Largo 1:24
10 Giga (staccato) 1:54
11 La Veloutèe (quatrième suite de pieces de clavecin) 1:54
Sonata IIIa in Re maggiore per fagotto e basso continuo
12 Moderato 2:22
13 Corrente 2:24
14 Aria (affettuoso) 2:29
15 Minoetto 1:10
16 Variatione Ia 1:07
17 Variatione IIa 1:00
18 Variatione IIIa 0:57
19 Variatione Iva 1:12
20 La Serènissime (seconde suite de pieces de clavecin) 2:07
Sonata IVa in Re minore per fagotto e basso continuo*
21 Andante 2:15
22 Allegro 2:29
23 Sarabanda 1:31
24 Giga 2:22
25 La Marguillièere (prèmiere suite de pieces de clavecin) 2:51
Sonata Va in Do minore per fagotto e basso continuo*
26 Largo 2:16
27 Gavotta 1:35
28 Largo 0:47
29 Allegro 1:41
Total Time 57:45

Notes

Classical. Original compositions by Joseph Bodin De Boismortier. Paolo Tognon baroque bass, Pietro Pasquini harpsichord. 24bit/88.2kHz original recorded, mixed and mastered at Areamagister Studios, Preganziol, Italy, on December 7, 8, 9, 2010

The bassoon in France, in the 18th century, was widely used for its expressive effectiveness. Its initial constructive development is probably due to Jean Hotteterre. Already in 1674, the bassoon is mentioned in a score by Lully and the first testimonies of a bassoon with four keys (later also five) are of two original instruments dated between 1730 and 1750 ca documented by makers such as Eisel, 1738 up to the famous illustration in the Encyclopédie of Diderot and D'Alembert of 1751. JB de Boismortier, introduced in France the tripartite concert of Italian origin whose forerunners were Vivaldi and Albinoni. He also contributed to the improvement of the flute technique. He began studying music under the guidance of Joseph Valette de Montigny in 1714. He initially worked in Metz and then moved to Paris in 1724, where upon his arrival he published 12 trio sonatas for 2 flutes with basso continuo, 12 sonatas for 2 flutes and 4 cantatas. He began a high-quality instrumental production, privileging the elegant tastes of the aristocrats. He also composed 3 operas and various cantatas. It was his music that was played at Christmas and Christmas Eve at the Concert Spirituel from 1740 to 1770. A fine connoisseur of the orchestra's low instruments, such as the cello, bassoon and viola da gamba, he came into contact with the world of the cello towards the end of the 1720s, when he went to study with Jean Zewalt Triemer, originally from Weimar where he was a member of the court orchestra; emigrated to Paris and between 1726 and 1729, was also a student of Boismortier. The collection of five sonatas op. 50 can expressly be played by the cello, bassoon or viola da gamba, according to the consolidated printing habit of the time which could thus guarantee greater circulation and interest of the compositions among the musicians of the time. The collection, used for this recording comes from the historical printed edition of 1735 preserved respectively at the Bibliothèque National de France and the British Library in London. The compositional structure of the sonatas skillfully mixes the alternation of slow and fast movements according to the Italian style, and there are typical French dances present in all the sonatas, such as: allemande, gavotte, giga, sarabande, Corrente, minuet. Interesting is the presence of the affettuoso in the first and third sonatas in which the mixture of the cantabile and the peculiar timbre of the bassoon in the tenor register, slightly melancholic, enhances its expressive component. Boismortier is perfectly within the spirit of the “Goutès Rèunis” or that French musical movement of the 18th century that aspired to an ideal musical union between cantabile melody and typical Italian virtuosity, with the refined French ornamentation typical of the comédie-ballet. The bassoon is explored in all these resources and adapts perfectly to the performance. To complete the recording, some short pièces de clavecin, from the collection of four suites for harpsichord of 1736. These are rather short closed-form pieces, which already in the titles given by the author, want to evoke a precise atmosphere: l'Impèrieuse, la Veloutèe, la Rustique or a sort of implicit homage to some personality: La Sèrenissime, la Marguillière. Often, in these pieces, the compositional form of the rondeau is present, which alternated with the couplet makes listening to the music itself more varied.