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Track(s) taken from CDA67288

Bassoon Concertino in B flat major, Perger 52/5

early 1760s

Laurence Perkins (bassoon), Manchester Camerata, Douglas Boyd (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: April 2001
Concert Hall of the Royal Northern College of Music, Manchester, United Kingdom
Produced by Andrew Keener
Engineered by Tony Faulkner
Release date: January 2002
Total duration: 7 minutes 18 seconds


'A delightful and generous collection' (Gramophone)

'Dazzling. Hyperion's perceptive talent-spotting has produced a charming disc from performers virtually new to the catalogue – unreservedly recommended' (BBC Music Magazine)

'The performances are all sophisticated … a pleasure to listen to' (American Record Guide)

'a recording of airy clarity … a most recommendable disc, with much to enjoy' (International Record Review)

'Perkins brings out the fun in much of the inspiration as well as the lyrical beauty, warmly accompanied by the Camerata' (The Guardian)

'Dynamic and expressive contrasts are carefully and adroitly created and the orchestra meticulously managed. The result is a lovely and technically superior recording, not to mention another star in the crown of the folks at Hyperion' (Fanfare, USA)

'The playing of the Manchester Camerata (on modern instruments) is excellent throughout … They and their oboist conductor support their principal bassoonist with such care and attention that it is fair to call this a labour of love all round. Enjoy' (MusicWeb International)

'La Manchester Camerata propose un excellent encadrement orchestral, spirituel, avec des tutti aux contours finement dessinés, une articulation franche et une pulsation énergique' (Répertoire, France)
The Concertino by Michael Haydn is in fact a concertante movement from an orchestral serenade. Although he never achieved the lasting fame of his older brother Franz Joseph, he was a powerful influence in his time (his pupils included Weber) and a skilful and prolific composer, producing thirty symphonies, numerous concertos, operas and a great deal of church music. The history of this work is slightly confusing, as it was one of a number of movements that were recycled and re-grouped into different works at different times, but it appears to have been written during the early 1760s. In this concertante movement the bassoon takes a very prominent solo line (including the opportunity for a cadenza), exploring—as Mozart did just a few years later—the instrument’s lyrical qualities over a wide range of notes.

from notes by Laurence Perkins © 2002

Le Concertino de Michael Haydn, est en fait un mouvement concertant tiré d’une sérénade orchestrale. Si Michael ne parvint jamais à se tailler une renommée durable en comparaison de son frère aîné Franz Joseph, il influença grandement son époque (il eut Weber parmi ses élèves). Il fut un compositeur talentueux et prolifique, produisant une trentaine de symphonies, plusieurs concertos, des opéras, et une grande quantité de musique d’église. L’histoire de cette œuvre est légèrement confuse puisque le Concertino fit partie d’un certain nombre de mouvements qui furent recyclés et réarrangés pour différentes œuvres à différentes époques. Il semble pourtant avoir été écrit durant les années 1760. Dans ce mouvement concertant, le basson embrasse une ligne soliste proéminente (incorporant la possibilité de cadence), et explore—comme Mozart quelques années auparavant—les qualités lyriques de l’instrument sur un vaste registre.

extrait des notes rédigées par Laurence Perkins © 2002
Français: Isabelle Battioni

Das Concertino von Michael Haydn ist in Wirklichkeit ein konzertanter Satz aus einer Orchesterserenade. Obwohl er niemals den dauerhaften Ruhm seines älteren Bruders Franz Joseph erlangte, war Michael Haydn zu Lebzeiten höchst einflußreich (zu seinen Schülern gehörte Weber) und ein geschickter, produktiver Komponist, der dreißig Sinfonien, zahlreiche Konzerte und Opern sowie viel Kirchenmusik schuf. Die Geschichte dieses Werks ist ein wenig verwirrend, da es einer der zahlreichen Sätze war, die immer wieder neue Verwendung fanden und zu verschiedenen Zeiten in unterschiedliche Werke aufgenommen wurden, doch scheint es zu Beginn der 1760er Jahre entstanden zu sein. In diesem konzertanten Satz übernimmt das Fagott eine hervorstechende Solostimme (samt Gelegenheit für eine Kadenz) und erkundet—wie Mozart einige Jahre später—die lyrischen Möglichkeiten des Instruments über eine weite Tonspanne.

aus dem Begleittext von Laurence Perkins © 2002
Deutsch: Anne Steeb/Bernd Müller

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