Paolo Tognon, Stefano Bagliano, Pier Mario Grosso, Collegium Pro Musica - Vivaldi: Sonate Concertanti per Fiati (2012)

Tracklist

01. Flute Sonata in G Minor, Op. 13, No. 6, RV 58 Il pastor fido: I. Vivace
02. Flute Sonata in G Minor, Op. 13, No. 6, RV 58 Il pastor fido: II. Fuga da cappella
03. Flute Sonata in G Minor, Op. 13, No. 6, RV 58 Il pastor fido: III. Largo
04. Flute Sonata in G Minor, Op. 13, No. 6, RV 58 Il pastor fido: IV. Allegro ma non presto
05. Trio Sonata in A Minor, RV 86: I. Largo
06. Trio Sonata in A Minor, RV 86: II. Allegro
07. Trio Sonata in A Minor, RV 86: III. Largo cantabile
08. Trio Sonata in A Minor, RV 86: IV. Allegro molto
09. Flute Sonata in C Major, Op. 13, No. 3 Il pastor fido: I. Largo
10. Flute Sonata in C Major, Op. 13, No. 3 Il pastor fido: II. Allegro ma non presto
11. Flute Sonata in C Major, Op. 13, No. 3 Il pastor fido: III. Pastorale
12. Flute Sonata in C Major, Op. 13, No. 3 Il pastor fido: IV. Allegro
13. Cello Sonata in B-Flat Major, Op. 14, No. 1, RV 47: I. Largo (Arr. for Bassoon and Basso continuo)
14. Cello Sonata in B-Flat Major, Op. 14, No. 1, RV 47: II. Allegro (Arr. for Bassoon and Basso continuo)
15. Cello Sonata in B-Flat Major, Op. 14, No. 1, RV 47: III. Largo (Arr. for Bassoon and Basso continuo)
16. Cello Sonata in B-Flat Major, Op. 14, No. 1, RV 47: IV. Allegro (Arr. for Bassoon and Basso continuo)
17. Flute Sonata in E Minor, RV 50 Stokholm Sonata: I. Andante
18. Flute Sonata in E Minor, RV 50 Stokholm Sonata: II. Sicialiano
19. Flute Sonata in E Minor, RV 50 Stokholm Sonata: III. Allegro
20. Flute Sonata in E Minor, RV 50 Stokholm Sonata: IV. Arioso
21. Chamber Concerto in G Minor, RV 103: I. Allegro ma cantabile
22. Chamber Concerto in G Minor, RV 103: II. Largo
23. Chamber Concerto in G Minor, RV 103: III. Allegro non molto

This recording is intended as a kind of projection of the vocal resources of wind instruments.

That is to say, these sonatas evoke remarkable resources of expressive communication, and the wind instruments used here seek to draw inspiration from the model of the human voice with all its enormous possibilities.

Even the most famous treatise of the 16th century, by Ganassi, encouraged the performer to follow this principle: You must know how unworthy all instruments are with regard to and in comparison with the human voice, and therefore we must force ourselves to imitate them.

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