The producers of this recording did the right thing by programming a variety of works–with and without bassoon–but they should have resisted whatever impulse possessed someone to post the misleading title “Bassoon Concertos” on the disc’s cover. In fact, only three of the seven works on the program strictly fit that description; the others include concertos for strings, for oboe and bassoon, for two oboes and violin, and for oboe, recorder, violin, and bassoon. Bassoon specialists certainly will want to hear this, but other Baroque chamber music enthusiasts should be interested as well, especially since the works here aren’t often heard–and the bassoon-only pieces don’t dominate. As a solo instrument, the bassoon’s appeal is limited, but that didn’t stop Vivaldi from writing more than three dozen concertos for it. And the way Michael McCraw plays, even listeners who dismiss the bassoon’s expressive abilities may have to reconsider when they hear this. His tone, while unquestionably of the bassoon persuasion, has a taste for the suaver, “cooler” corners of the reed sound world, regions explored by the finest of jazz players but not often roamed by “serious” classical types. Bassoon and jazz? Well, you believe it’s possible when you hear McCraw’s way with the “Larghetto” in the D minor concerto RV 481, and with some of the little “riffs” in the same work’s first-movement “Allegro” (what about those slides near the end!). And McCraw’s orchestral and solo partners are excellent as well, keeping a tight ensemble structure within which to make the most effective use of changing tempos, shifting dynamics, and quickly expressive crescendos and decrescendos.
There are enough strangely familiar snippets of melody, rhythm, and harmony among these concertos to support the oft-expressed claim that Vivaldi wrote one extra-large piece and just recycled bits of it to create his huge oeuvre. Was that one of the Op. 8 pieces? or the Gloria? the D major guitar concerto? But who really cares, as the tunes and dancing rhythms, the easy-flowing lines, the lingering slow movements, and alternatively churning, driving energy pours out in such easy-to-digest streams? Let’s not make too much of this, however; as music it’s not among even Vivaldi’s finer efforts. But as entertainment, and as an example of really splendid bassoon playing, it’s a winner. The sound gives generous support to the soloists and ensemble–meaning that everything sounds clear, natural, and appropriately balanced. [10/22/2001]
