L'un des meilleurs compositeurs contemporains du siècle des Lumières qui se voulait éclairé par la lumière métaphorique des connaissances (et non pas l’illumination divine :)... Je suis consterné de ne découvrir sa musique qu'à l'hiver de mes années….. La totalité des nuances de cette architecture sonore est comme une envolée dans le Sublime, c’est l’une des musiques les plus divines et évocatrices que j'ai jamais écoutée à ce jour !
Danzi (1763-1826) was a prolific composer. here, we have a bassoon concerto, an odd soloist but which was rather familiar at that time. We have several examples in the Mannheim school. There are concertos by the young Mozart and by Weber. Danzi was a conductor. he knew the instruments pretty well. The bassoon is very well written. The expressive power of all its registers is fully exploited.
For all of you thinking a bassonist makes 'an odd soloist': Leopold Kozeluch wrote (absolutely stunning, I think it is his best work) Sinfonia Concertante for piano, trumpet, mandolin and double bass in Eb major, so please leave woodwinds alone...
Danzi was master at composing for the wind instruments. This concerto is in the romantic style so it must have been composed in the last 20 or so years of Danzi's life (he did transition to romanticism later in his life).
@@brianknapp8645I fully agree with you. Even in the barque italian period, Vivaldi was a prolific basson concerto composer. As I suggested above, transition from classicism to ri omantis can be traced back from Mozart to Weber. Writing a good bassoon concerto is a hard r task, first because of its range in itself (but we have excellent cello concerto, from baroque to contemporary composers), and second because it has at least three very different ranges: the lower octave, the medium and the treble. First, you cannot interestingly write the orchestral part if you do no take that range into proper account. Second, keeping within a gaiven range with its sonority or juming from a range to another (which the instrument can do easily) is an exciting practice in terms of sonority and od meodic profile. I, addition, I fully agree with t you both on the fact that Danzi wonderfully knex haw to write for (woode)winds, and second on the the fact that ha was flexible enough to switch to early romantism around the 1820's.
Danzi's concerto, a beautiful fusion of soloist and orchestra
I like that painting.
Me too.
Magnificent,delightful !
i love Danzi.
Delightful!
L'un des meilleurs compositeurs contemporains du siècle des Lumières qui se voulait éclairé par la lumière métaphorique des connaissances (et non pas l’illumination divine :)... Je suis consterné de ne découvrir sa musique qu'à l'hiver de mes années….. La totalité des nuances de cette architecture sonore est comme une envolée dans le Sublime, c’est l’une des musiques les plus divines et évocatrices que j'ai jamais écoutée à ce jour !
I am in complete harmony with your feelings; especially in my "winter years", or should I say winter months? Who hnowa?
Brilliant concerto
Magnifique ! Et magnifiquement joué !
Un capolavoro. Eccezionale.
Danzi (1763-1826) was a prolific composer. here, we have a bassoon concerto, an odd soloist but which was rather familiar at that time. We have several examples in the Mannheim school. There are concertos by the young Mozart and by Weber. Danzi was a conductor. he knew the instruments pretty well. The bassoon is very well written. The expressive power of all its registers is fully exploited.
For all of you thinking a bassonist makes 'an odd soloist': Leopold Kozeluch wrote (absolutely stunning, I think it is his best work) Sinfonia Concertante for piano, trumpet, mandolin and double bass in Eb major, so please leave woodwinds alone...
Danzi was master at composing for the wind instruments. This concerto is in the romantic style so it must have been composed in the last 20 or so years of Danzi's life (he did transition to romanticism later in his life).
@@brianknapp8645I fully agree with you. Even in the barque italian period, Vivaldi was a prolific basson concerto composer. As I suggested above, transition from classicism to ri omantis can be traced back from Mozart to Weber. Writing a good bassoon concerto is a hard r task, first because of its range in itself (but we have excellent cello concerto, from baroque to contemporary composers), and second because it has at least three very different ranges: the lower octave, the medium and the treble. First, you cannot interestingly write the orchestral part if you do no take that range into proper account. Second, keeping within a gaiven range with its sonority or juming from a range to another (which the instrument can do easily) is an exciting practice in terms of sonority and od meodic profile. I, addition, I fully agree with t you both on the fact that Danzi wonderfully knex haw to write for (woode)winds, and second on the the fact that ha was flexible enough to switch to early romantism around the 1820's.
Thank you again, Gerard! You are so thoughtful in educating, those who want to know much more than they do! Keep so doing, if you don't mind!
@@charlesopels9676 You know, dera friend, it is both may mind and my pleasure. Keep safe. Cheers, Gerard
Excellent !
Just discovered Danzi. Oh the wonders of when a person randomly throws on some music!
The tempo of the final Polacca (Polonaise) movement is Allegretto.
the first 2mins 20 secs are so great
Все четыре фаготовых концерта Франца Данци мастерски оркестрованы, тутти звучат- как симфония !
I love the way the pirate ship has got stuck on the trees...x i'm having diffulcty with sound but quite like it....not very romantic...the music x