Melba Recordings

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The Galant Bassoon

08/08/2009
Music and Vision Daily (UK)
Howard Smith

...Melba Recordings invariably turn out a handsome product and The Galant Bassoon is no exception. For one thing these artists are diversely experienced, their musical accreditation never in question...

In the A minor sonata, Telemann follows the familiar sonata di chiesa (slow-fast-slow-fast) pattern, beginning with a melancholic largo, promptly thrown into contrast by a perky 1¾ minute allegro. The third movement, marked soave, is appropriately placid and a blithe final allegro reveals Wilkie at his most adept...

Kees Boersma's steady bass tread gives the opening adagio ma non tanto an aura of the inexorable while Wilkie once more demonstrates flawless rapid passagework in the allegro that follows. In the ensuing andante Da Costa has the first twenty-seven seconds to himself while the balance of the movement shows the composer at his most plaintive. A final allegro requires greater overt bassoon virtuosity than anything else on the 'Galant' concert disc...

...Following the jolly allegro from all three players, Telemann splices in a gorgeous andante -- I find myself wishing this efficacious repose lasted somewhat longer than 1'52". Instead the trio romps through the vivace finish with evident enjoyment.

Whereas Bach (J S) and Telemann have plenty in common, CPE Bach's style is markedly different as evident in the Flute Sonata in A minor H562/Wq 132 (transposed for bassoon to D minor). Harpsichordist Da Costa and bass Boersma are left in the green room as Wilkie alone enriches the glorious, exploratory-sounding poco adagio with dignified, stellar control...the final allegro re-affirms Wilkie's performance as an outright tour de force...
...Melba Recordings invariably turn out a handsome product and The Galant Bassoon is no exception. For one thing these artists are diversely experienced, their musical accreditation never in question...

In the A minor sonata, Telemann follows the familiar sonata di chiesa (slow-fast-slow-fast) pattern, beginning with a melancholic largo, promptly thrown into contrast by a perky 1¾ minute allegro. The third movement, marked soave, is appropriately placid and a blithe final allegro reveals Wilkie at his most adept...

Kees Boersma's steady bass tread gives the opening adagio ma non tanto an aura of the inexorable while Wilkie once more demonstrates flawless rapid passagework in the allegro that follows. In the ensuing andante Da Costa has the first twenty-seven seconds to himself while the balance of the movement shows the composer at his most plaintive. A final allegro requires greater overt bassoon virtuosity than anything else on the 'Galant' concert disc...

...Following the jolly allegro from all three players, Telemann splices in a gorgeous andante -- I find myself wishing this efficacious repose lasted somewhat longer than 1'52". Instead the trio romps through the vivace finish with evident enjoyment.

Whereas Bach (J S) and Telemann have plenty in common, CPE Bach's style is markedly different as evident in the Flute Sonata in A minor H562/Wq 132 (transposed for bassoon to D minor). Harpsichordist Da Costa and bass Boersma are left in the green room as Wilkie alone enriches the glorious, exploratory-sounding poco adagio with dignified, stellar control...the final allegro re-affirms Wilkie's performance as an outright tour de force...