{"id":6173,"date":"2017-09-09T17:56:35","date_gmt":"2017-09-09T15:56:58","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=6173"},"modified":"2025-05-06T15:59:12","modified_gmt":"2025-05-06T13:59:12","slug":"vivaldi-marcello-telemann-albinoni-oboe-nel-teatro-degli-affeti-omar-zoboli-ensemble-falcone","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/vivaldi-marcello-telemann-albinoni-oboe-nel-teatro-degli-affeti-omar-zoboli-ensemble-falcone\/","title":{"rendered":"VIVALDI \u2013 MARCELLO \u2013 TELEMANN \u2013 ALBINONI \u2013 UN OBOE NEL \u00ab TEATRO DEGLI AFFETI \u00bb \u2013 OMAR ZOBOLI \u2013 ENSEMBLE \u00ab IL FALCONE \u00bb"},"content":{"rendered":"

Alessandro MARCELLO :<\/strong> Oboe Concerto in D Minor, S. Z799: I. Andante e spiccato – II. Adagio – III. Presto \u2013 Antonio VIVALDI :<\/strong> Oboe Concerto in C Major, RV 451: I. Allegro molto – II. Largo – III. Allegro \u2013 Georg Philipp TELEMANN :<\/strong> Oboe Concerto in E Minor, TWV 51:e1: I. Andante – II. Allegro molto – III. Largo – IV. Allegro \u2013 Johann Gottlieb GRAUM :<\/strong> Oboe Concerto in G Minor, GraunWV Cv:XIII:144: I. Allegro – II. Andante – III. Allegro moderato \u2013 Georg Philipp TELEMANN :<\/strong> Trio Sonata in C Minor for Oboe, Viola and Basso Continuo, TWV 42:c5: I. Adagio – II. Vivace – III. Affettuoso – IV. Allegro \u2013 Tomaso ALBINONI :<\/strong> Concerto a 5 in B-Flat Major, Op. 9 No. 11: I. Allegro – II. Adagio – III. Allegro.<\/p>\n

Omar Zoboli<\/strong>, Oboe \u2013 Ensemble \u00ab Il Falcone \u00bb<\/strong> : Pablo Perrone<\/strong> & Gian Andrea Guerra<\/strong>, Violins \u2013 Guido De Vecchi<\/strong>, Viola \u2013 Daniele Bovo<\/strong>, Cello \u2013 Federico Bagnasco<\/strong>, Violone \u2013 Paola Cialdella<\/strong>, Harpsichord<\/p>\n

DIARY OF A MUSICAL JOURNEY (by Omar Zoboli)<\/h4>\n

Prologue<\/h4>\n

In the Baroque period the great theater is born where music becomes a space to stage the emotions we all know.
\nStudying and playing these pieces charged with history, I became by steps a \u201cpersona\u201d, the \u201cmask\u201d of an actor and a singer conceiving the orchestra as the stage to represent musical plots and affections.
\nIn that wordless theater the consort of the instruments performs as a casting engaged in conversation, the interplay of the emotions acquiring a real dimension capable to bring us surprisingly close to the mind of the composer and even to the place where he lived.<\/p>\n

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Alessandro Marcello<\/h4>\n

Andante e spiccato, first Movement. The oboe enters the stage with elegant and noble demeanor, perhaps such as a rich Venetian patrician, moving in theatrical fashion as if in a Moli\u00e8re\u2019s play, cast in the formal style of Benedetto Marcello or Baldassarre Castiglione.<\/p>\n

The oboe \u201cgentilhomme\u201d introduces himself in the first two phrases, engages in a dialogue with the other instruments and finally leads towards a consensual ending in agreement with the strings.
\nAdagio, one of Marcello\u2019s foremost compositions, also because of Bach\u2019s arrangement, is an invitation to contemplate the architectural and formal beauty of this music. As in the first movement, a concise introduction by the strings serves as prelude to the expression of more intimate feelings along the concert. (N.B. Although I prepared several versions with some of my unconventional variations loosely inspired by Bach\u2019s style, during the recording session a new, much simpler, near improvised version sprung up unexpectedly, as if the baroque but simple and rustic architecture of the little church where we were playing had asked for a token of its presence).<\/p>\n

The last movement, Presto, conveys the audience to a merry dancing in a homely set where nobles and bourgeois join in to celebrate cheerfully.
\nBach was so fascinated with the Italian mood of this music that he took pains to provide wonderful embellishments and alternate harmonic commentary of his own.<\/p>\n

Antonio Vivaldi (or the \u201cunbearable lightness of the musical dialogue\u201d)<\/h4>\n

We are recording at Premanico, a few kilometers from Genoa, a village built in the hills of the hinterland to protect itself from pirates\u2019 raids. We play in its charming baroque church, a perfect setting for quiet work, the door opened on the churchyard basked in the warmth of a gorgeous afternoon. We rehearse and discuss the character of a section. I strive to imagine how the Red Priest might have worked with his pupils on some phrases, particularly the one called \u201cPelegrina dell\u2019oboe\u201d.<\/p>\n

The didactic aspect of his music blends here with the expressive: in every movement of this concerto, in every single oboe solo phrase, Vivaldi changes register and provide the interpreter with different ways to \u201crecite\u201d the emotions. Vivaldi must have given dynamics instructions to the \u201cPelegrina dell\u2019oboe\u201d and maybe even played her that part on his violin? The frequent virtuoso \u201ccoloraturas\u201d of the oboe are set out with great lightness for the understanding and enjoyment of teenagers otherwise confined into the hardship of their stern college life. \u201cPlaying\u201d, therefore, like \u201cspielen\u201d, \u201cplay\u201d, \u201cjouer\u201d, \u201cgiocare\u201d, as if with a toy, with a little oboe, probably a high-pitched Denner, very agile and fast.<\/p>\n

This image helps me to enter the spirit of that deceitfully simple but deep music: a cheerful Allegr<\/em>o, with dynamically startling \u201cforte\u201d and \u201cpiano\u201d, then the enchantment of a scented Adagio<\/em> spelled by a few terse measures, and eventually the Allegro<\/em> \u201calla rustica\u201d for the joy of simple folks and for little girls to dance upon (some of them perhaps hosted by the Piet\u00e0 hospital!).<\/p>\n

Graun and Telemann (or the tense dialogue of the \u201cSturm und Drang\u201d in a protestant spirit).<\/h4>\n

From the imaginary travel diary of Messer Florian, merchant \/ bourgeois \/ Venetian gentleman, and Messer Florian\u2019s brother who opened the first public Caf\u00e9 in St Mark\u2019s Square.<\/p>\n

7th September 1731
\n\u201cArrived tonight in Leipzig, with loads of silk and spices.<\/em>
\n At the hotel where the diligence stopped, tasted the famous beer, the sauerkraut, the game. The following day the scores were given to Mr. Bach.<\/em>
\n In the evening, music at Zimmermann\u2019s Caf\u00e9: Mr. Bach performed tastefully and skilfully at the harpsichord before a beautiful concert by my Venetian friend Marcello and one by Mr. Vivaldi.<\/em>
\n Then the orchestra: we could admire Mr. Gleiditsch at the oboe in a nice concert by Mr. Graun, passionate and elegant, with a sweet pastoral \u2019andante\u2019 in the middle. \u201c<\/em>
\n Who knows if Telemann played that night, and if Zelenka was also there with his violone?<\/em><\/p>\n

We do not know whether G. Ph. Telemann was at Zimmermann\u2019s Caf\u00e9. In his E minor concerto, however, he figures a world where the emotions seem to be portrayed at a distance, almost officially, in a suitable and orderly arcadian way.<\/p>\n

Andante<\/em>. Well-dressed people meet here: at the beginning of the concert voices are heard absorbed in conversation but nonetheless attentive to the comments of their host, the oboe.
\nThe second movement, Allegro<\/em>, sketches a hunting scene suspended a while for the hunters to catch their breath before closing in upon the prey.
\nIn the Largo<\/em> we find ourselves in the drawing room of a \u201cLustschloss\u201d – a country residence where the guests converse politely enjoying tea and pastries.
\nIn the following Allegro something unforeseen happens. People run around hurrying as if to take cover before the storm. Or have they had disturbing news about the danger of an announced battle? Or is it something concerning their gracious host maybe distressed by his favorite paramour\u2019s moods? Telemann\u2018s music ends as if running away and leaves us at the side of his beautiful painting, behind the scenes of our own inner musical theater. As in the lithograph \u201cPrint gallery\u201d by M.C.Escher we find ourselves standing out of the sketch but at the same time still inside the emotion inspired by the drawing.<\/p>\n

Tomaso Albinoni<\/h4>\n

Albinoni\u2019s baroque music looks more stylized, almost classic in a way that reminds me of the architect Borromini and the churches he built in Rome.
\nIn the first and third movement, the dialogue between the soloist and the \u201ctutti\u201d could be best expressed as a choreography: the melodies seem to be dancing!
\nThe Adagio<\/em> calls to the fore the oboe and intertwines its strains with the strings in the manner
\nof a \u201cconcerto grosso\u201d.<\/p>\n

Telemann Trio Sonata<\/h4>\n

Here we find ourselves in a private family circle of noble ascent.
\nWe witness the scene and listen unseen to their conversation.
\nThey drink coffee, they taste a sweet delicious wine, and we hear them talking graciously, now and then more excitedly but always stately.
\nLike a Vermeer\u2019s painting of a room: we peek inside a household guessing the plot of those lives while loosing ourselves into the fabric of an enthrolling musical dialogue.
\nWhat is hiding behind the precise sketches of these people, behind the perfect profile of Telemann\u2019s musical phrases?<\/p>\n

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