In the same period Venetian composers developed the solo-concerto, a new musical form that would become a privileged standard until our modern times, in which one instrument is in the foreground in a larger group mostly consisting of strings and basso continuo. All composers and listeners were fascinated by its flexibility, versatility and a sound that came very close to the human voice. The new oboe invaded all European countries by the year 1700, just a few decades after its invention in France. Using a rare original instrument made by Giovanni Maria Anciuti (the most remarkable woodwind instrument maker active in Italy in the first half of the eighteenth century) and dated 1730, Alfredo Bernardini offers us a reference anthology of Venetian Baroque oboe concertos, ranging from favourites like Marcello’s Concerto – one of the most performed oboe concertos in the repertoire – to true rarities like Bigaglia’s, recorded here for the first time. 6, RV 460ĭiogenio Bigaglia (c.1676–c.1745): Oboe Concerto in B-Flat Major Giuseppe Sammartini (1695–1750): Oboe Concerto in D Major, VeiI SamG2Īntonio Vivaldi (1678–1741): Oboe Concerto in G Minor, Op.

3Īlessandro Marcello (1673–1747): Oboe Concerto in D Minor Tomaso Albinoni (1671–1751): 12 concerti a cinque, Op. Giovanni Benedetto Platti (1697–1763): Oboe Concerto in G Minor Antonio Vivaldi (1678-1741): Oboe Concerto in C Major, Op.

Vivaldi marcello platti oboe convertos