Vivaldi Klaus Thunemann I Musici - Conciertos Para Fagot Cuerda Y Continuo PV 137 70 305 Y 382

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Review by Tara Foulkrod

Vivaldi’s "Conciertos Para Fagot Cuerda Y Continuo" – A Baroque Gem That Still Hits Different Let’s talk about Vivaldi’s Conciertos Para Fagot Cuerda Y Continuo PV 137 70 305 Y 382. Yeah, yeah, the title's a mouthful—like trying to say “supercalifragilisticexpialidocious” after three cups of coffee. But trust me, this 1977 release by Klaus Thunemann and I Musici is one of those albums that sneaks up on you. It’s not flashy or loud, but it’s got soul—Baroque soul, that is. The whole thing is packed with bassoon goodness (shoutout to Klaus Thunemann for absolutely shredding). If you’re into classical music but haven’t spent much time with the bassoon as a solo star, this album will make you rethink everything. And hey, Spain in the '70s? Not exactly where you’d expect a killer Baroque record to drop, but here we are. Props to Philips for putting it out there. Now let’s zoom in on two tracks that stuck with me like gum on a hot sidewalk: First up, Concierto En Fa Mayor, P. 305—specifically the opening Allegro. This track grabs your attention right away. The strings from I Musici are tight, crisp, almost like they’re daring each other to play faster without messing up. Then Klaus comes in with the bassoon, smooth as butter melting over toast. There’s something playful yet deeply emotional about how Vivaldi wrote these parts. You can tell he knew how to give the bassoon its moment to shine without making it feel awkward. By the time the second movement (Largo) rolls around, it’s like stepping into a quiet chapel at sunset. Everything slows down just enough to let you breathe. Beautiful doesn’t even cover it. Then there’s Concierto En Si Bemol Mayor, P. 382, especially the Larghetto. Oh man, this one hits different. It starts off soft, almost hesitant, like someone tiptoeing through an empty house late at night. But then the bassoon takes center stage again, weaving this melody that feels both intimate and grand. It’s hard to explain, but listening to it makes you want to close your eyes and drift off somewhere far away. Like, maybe a misty forest in some forgotten fairy tale? Or just your couch after a long day. Either way, it works. What really gets me about this album is how timeless it feels. Sure, it came out in ’77, but the energy and passion still slap today. It’s wild to think Vivaldi scribbled these notes centuries ago, and now here we are vibing to them thanks to Klaus and the crew. Makes you wonder if art ever truly ages or if we’re all just borrowing bits of genius from the past. Here’s the kicker though—listening to this made me realize something kinda funny. We spend so much time chasing new sounds, new genres, new trends, but sometimes the best stuff is already sitting right under our noses, waiting for us to notice. Maybe that’s why albums like this stick around—they remind us to slow down and appreciate what’s been here all along. So yeah, go ahead and spin Conciertos Para Fagot Cuerda Y Continuo. Let it transport you. Just don’t blame me if you start randomly humming bassoon concertos in line at the grocery store.

Download Vivaldi Klaus Thunemann I Musici - Conciertos Para Fagot Cuerda Y Continuo PV 137 70 305 Y 382
Artist: Vivaldi Klaus Thunemann I Musici
Album: Conciertos Para Fagot Cuerda Y Continuo PV 137 70 305 Y 382
Rating: 5.0

Table of Contents

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Filename: vivaldi-klaus-thunemann-i-musici-conciertos-para-fagot-cuerda.zip
  • MP3 size: 59 mb
  • FLAC size: 515 mb

Tracks

TrackDurationPreview
2. Larghetto
Concierto En Fa Mayor, P. 305 (F. VIII, 20; RV 489)
Concierto En Si Bemol Mayor, P. 382 (F. VIII, 24; RV 502)
2. Andante
3. Allegro
1. Allegro Poco
Concierto En Mi Menor, P. 137 (F. VIII, 6; RV484)
2. Largo
1. Allegro
Concierto En La Menor, P. 70 (F. VIII, 2; RV 498)

Images

Album herunterladen Vivaldi Klaus Thunemann I Musici - Conciertos Para Fagot Cuerda Y Continuo PV 137 70 305 Y 382

Catalog Numbers

65 00 919

Labels

Philips

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Formats

  • Vinyl
  • LP

Credits

RoleCredit
BassoonKlaus Thunemann
Composed ByVivaldi
OrchestraI Musici

About Vivaldi Klaus Thunemann I Musici

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Italian Baroque composer, virtuoso violinist, teacher and cleric. Born March 4, 1678, Sestiere di San Marco, Repùblica Vèneta, Italy. Died July 28, 1741, Kärntnertor, Vienna, Austria. He is recognized as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He is known mainly for composing many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as "The Four Seasons". Vivaldi's career as a violinist and composer was almost inevitable. His father was Giovanni Battista Vivaldi, a founder of the Sovvegno dei musicisti di Santa Cecilia, an early musician's collective, who's President was the Baroque operatic composer and tutor Giovanni Legrenzi. As a youth, touring and performing around Venice in accompaniment on the violin with his father, he is likely to have been influenced by Legrenzi who had become maestro di cappella at St. Mark's Basilica in 1681. A redhead like his father, Vivaldi took up the course of attaining a priesthood in 1693 and became ordained in 1703, referred to by those around him as "Il Prete Rosso" because of his red hair. By late 1703 he was unable to maintain his practice in the priesthood due to ill health and sought employment as a tutor of music, retaining his reverential title. By 1704 he worked as maestro of violin in Venice at the orphanage of the Devout Hospital of Mercy, an institution known as Conservatorio dell'Ospedale della Pietà, providing shelter to orphaned and abandoned children. Here the boys were taught a trade, whilst the girls were given a musical education. The talented were selected for the conservatory's orchestra & choir, which gained high regard both in Venice and abroad. Vivaldi used this period to write the majority of his concertos, cantatas and arias. The institute provided an ideal environment for Vivaldi to explore the avenues of the ritornello form. The first of his works were published in 1705, a second Opus in 1709. His third Opus was published in Amsterdam in 1711 and gained him enthusiastic attention throughout Europe  followed by a fourth Opus in 1714. He became Musical Director of the Pietà's institute in 1716 and was contracted to provide two concerti a month for the orchestra. Papers from the Pietà's history show that Vivaldi produced 140 concerti between 1723 and 1733. In 1714 Vivaldi took on the role of impresario of the theater Sant'Angelo in Venice, presenting "Orlando finto pazzo

Real Name

    • Antonio Lucio Vivaldi

Name Vars

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  • A, Vivaldi
  • A. Vivaldi
  • A. Vivaldi (1678-1741)
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  • Antinio Vivaldi
  • Anton Vivaldi
  • Antoni Vivaldi
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  • Antonio (Lucio) Vivaldi
  • Antonio L. Vivaldi
  • Antonio Licio Vivaldi
  • Antonio Lucio Vivaldi
  • Antonio Vivaldi (?)
  • Antonio Vivaldi, 1678-1741
  • Antonio Vivaldi?
  • António Vivaldi
  • D. Antonio Vivaldi
  • Don Antonio Vivaldi
  • G. Verdi
  • VIVALDI
  • VIvaldi
  • Vavaldi
  • Viva Vivaldi
  • Vivald
  • Vivaldi
  • Vivaldi A.
  • Vivaldi Antonio
  • Vivaldi Antonio Lucio
  • Vivaldi,
  • Vivaldi, Antonio
  • Vivaldis
  • Vivaldy
  • Vivladi
  • Βιβάλντι
  • А. Вивалди
  • А. Вивальди
  • А. Вівальді
  • А.Вивальди
  • А.Вівальді
  • Антонио Вивалди
  • Антонио Вивальди
  • Антонио Вивальди (1678-1741)
  • Антоніо Вівальді
  • Вивалди
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Interesting fact about Album

Did you know? The album *Conciertos Para Fagot Cuerda Y Continuo* by Vivaldi, performed by Klaus Thunemann and I Musici, is a hidden gem for bassoon lovers. Released in 1977 in Spain, it showcases Vivaldi's genius in composing for the bassoon. One standout track is the *Concierto En Si Bemol Mayor*, where the bassoon dances gracefully between strings. It’s Baroque music at its finest, blending elegance with energy. If you’re into classical music, this one’s worth a listen!