1 Adagio In G Minor 	11:29 	
2 Oboe Concerto Op. 9, No. 5 - Adagio Non Troppo 	2:02 	
3 Double Oboe Concerto Op. 7, No. 11 - Adagio 	2:53 	
4 Oboe Concerto Op. 9, No. 2 - Adagio 	5:25 	
5 Double Oboe Concerto Op. 7, No. 2 - Adagio 	2:53 	
6 Oboe Concerto Op. 7, No. 6 - Adagio 	3:39 	
7 Simfonia For Two Oboes - Adagio 	2:49 	
8 Oboe Concerto Op. 7, No. 4 - Adagio 	3:12 	
9 Double Oboe Concerto Op. 9, No. 9 - Adagio Non Troppo 	3:07 	
10 Oboe Concerto Op. 7, No. 9 - Adagio 	2:37 	
11 Oboe Concerto Op. 7, No. 3 - Adagio 	4:11 	
12 Double Oboe Concerto Op. 9, No. 3 - Adagio Non Troppo 	2:15 	
13 Oboe Concerto Op. 7, No. 12 - Adagio 	3:08 	
14 Double Oboe Concerto Op. 7, No. 5 - Adagio 	2:14 	
15 Oboe Concerto Op. 9, No. 11 - Adagio 	3:29 	
16 Double Oboe Concerto Op. 9, No. 12 - Adagio 	3:19 	
17 Oboe Concerto Op. 9, No. 8 - Adagio 	2:18 	
18 Oboe Concerto Op. 7, No. 1 - Adagio E Staccato 	0:52 	
19 Double Oboe Concerto Op. 9, No. 6 - Adagio Non Troppo 	3:50

Anthony Camden – oboe (2 to 19)
Alison Alty – oboe (3, 5, 7, 14, 16, 19)
Julia Girdwood – oboe (9, 12)

Capella Istropolitana
Richard Edlinger – conductor (1)

The London Virtuosi
John Georgiadis – conductor (2 to 19)

Thomaso Albinoni has often been overlooked, save his piece for Organ and Strings. This CD should bring any listener into admiration of his works. The first piece on the CD is the Organ and Strings, but the rest are Adagios from his Oboe Concertos. I just adore this CD and think it adds a brilliant touch to any collection. A Must Buy. --- M. C. Colver "LittleMitchColver" (henderson, nv United States)

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	Adagio In G Minor For Organ And Strings
1 		Adagio In G Minor 	6:54 	
  	Concerto In B Flat, Op. 7 No. 3 For 2 Oboes, Strings And Basso Continuo
2 		Allegro 	3:35 	
3 		Adagio 	2:57 	
4 		Allegro 	2:13 	
  	Concerto In C Major, Op. 7 No. 5 For Oboe, Strings And Basso Continuo
5 		Allegro 	2:09 	
6 		Adagio 	2:11 	
7 		Allegro 	1:24 	
  	Concerto In D Major, Op. 7 No. 6 For Oboe, Strings And Basso Continuo
8 		Allegro 	3:01 	
9 		Adagio 	2:19 	
10 		Allegro 	2:21 	
  	Concerto In G Major For Flute, Strings And Basso Continuo
11 		Allegro 	2:52 	
12 		Adagio 	2:12 	
13 		Presto 	2:18 	
  	Concerto In F Major, Op. 7 No. 9 For Oboe, Strings And Basso Continuo
14 		Allegro 	2:46 	
15 		Adagio 	0:57 	
16 		Allegro 	2:41 	
  	Concerto In C Major, Op. 7 No. 11 For 2 Oboes, Strings And Basso Continuo
17 		Allegro 	2:48 	
18 		Adagio 	2:43 	
19 		Allegro 	2:37 	
  	Concerto In C Major, Op. 7 No. 12 For Oboe, Strings And Basso Continuo
20 		Allegro 	3:25 	
21 		Adagio 	2:53 	
22 		Allegro 	2:18 	
  	Concerto A 5 In D Minor, Op. 9 No. 2 For Oboe And Strings
23 		Allegro E Non Presto 	4:26 	
24 		Adagio 	4:00 	
25 		Allegro 	2:58 	

Eduard Kaufmann (Organ)
Hans Elhorst (Oboe), 
Heinz Holliger (Oboe)
David Reichenberg (Oboe)

Lucerne Festival Strings
Rudolf Baumgartner – conductor

Berne Camerata
Alexander van Wijnkoop – conductor

Zurich Collegium Musicum
Paul Sacher – conductor

Listen to this straight through and you get a quick course in the evolution of Baroque playing styles since 1968. The opening number, Albinoni's ubiquitous Adagio, never fails to make an impression, though the Lucerne Festival Strings version here does sound heavy to ears accustomed to the lighter, sprightlier sound of period instruments, such as we hear in the final selection, the Oboe Concerto, Op. 9 No. 2, recorded in 1985 by David Reichenberg and the English Concert. In between come seven other concertos for oboe, two oboes, or flute, each of them played on modern instruments in rhythmically supple interpretations with middle-of-the-road tempos and sonorities that should please both traditionalists and period fans of Baroque music, of which Albinoni's is a source of endless pleasures. ---Dan Davis, Editorial Reviews

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1. Sonata No. 2 in C major, Op. 2/3 (T. 2/3): Largo 	
2. Sonata No. 2 in C major, Op. 2/3 (T. 2/3): Allegro 	
3. Sonata No. 2 in C major, Op. 2/3 (T. 2/3): Grave 	
4. Sonata No. 2 in C major, Op. 2/3 (T. 2/3): Allegro 	
5. Sonata No. 6 in G minor, Op. 2/11 (T. 2/11): Adagio 	
6. Sonata No. 6 in G minor, Op. 2/11 (T. 2/11): Allegro 	
7. Sonata No. 6 in G minor, Op. 2/11 (T. 2/11): Grave 	
8. Sonata No. 6 in G minor, Op. 2/11 (T. 2/11): Allegro 
9. Sonata No. 4 in C minor, Op. 2/7 (T. 2/7): Grave 	
10. Sonata No. 4 in C minor, Op. 2/7 (T. 2/7): Allegro assai 	
11. Sonata No. 4 in C minor, Op. 2/7 (T. 2/7): Adagio 	
12. Sonata No. 4 in C minor, Op. 2/7 (T. 2/7): Allegro 
13. Sonata No. 5 in B flat major, Op. 2/9 (T. 2/9): Largo 	
14. Sonata No. 5 in B flat major, Op. 2/9 (T. 2/9): Allegro assai 	
15. Sonata No. 5 in B flat major, Op. 2/9 (T. 2/9): Grave 	
16. Sonata No. 5 in B flat major, Op. 2/9 (T. 2/9): Allegro 	
17. Sonata No. 1 in G major, Op. 2/1 (T. 2/1): Grave - Adagio 	
18. Sonata No. 1 in G major, Op. 2/1 (T. 2/1): Allegro 	
19. Sonata No. 1 in G major, Op. 2/1 (T. 2/1): Adagio 	
20. Sonata No. 1 in G major, Op. 2/1 (T. 2/1): Allegro 
21. Sonata No. 3 in A major, Op. 2/5 (T. 2/5): Grave 	
22. Sonata No. 3 in A major, Op. 2/5 (T. 2/5): Allegro 	
23. Sonata No. 3 in A major, Op. 2/5 (T. 2/5): Adagio 	
24. Sonata No. 3 in A major, Op. 2/5 (T. 2/5): Allegro

Ensemble 415
Chiara Banchini – violon & direction

One of the darkest corners of Tomaso Albinoni's worklist is his chamber music. Albinoni's Opus 2, published in 1700, is particularly problematical, as half of its 12 numbers are chamber sonatas and the other half consists of concertos, chamber concertos to be sure, but the very word concerto is often taken automatically to mean orchestral music. There is a longstanding tradition of playing this music, even the sonatas, as though it were orchestral music, and at least two recorded editions of all 12 pieces -- by Claudio Scimone and I Solisti Veneti in the 1970s and the Insieme strumentale di Roma in the 1990s -- that make no major distinction between what is a concerto and what is a sonata. Chiara Banchini and her Ensemble 415 will have none of that; on the Zig Zag Territories recording Albinoni: Sinfonie a Cinque, Op. 2, Banchini decides to isolate the sonatas only from the published set and perform them in an unmistakably chamber-oriented setting, and the result is the best Albinoni recording since the Locatelli Trio recorded works taken from Opp. 4 and 6 for Hyperion back in the early '90s.

Albinoni's Op. 2 is a critically important publication; it was a major building block of Venetian Baroque style and was well known to Antonio Vivaldi and Johann Sebastian Bach; it represents, in many ways, the next step forward from the work of Arcangelo Corelli. While Albinoni's effort is essentially popularly oriented, he fashions these pieces out of technical resources more commonly associated with serious composition; internal canons, fugal procedures, imitation (a favorite technique of Albinoni's even in concertos), and so forth. The music is harmonically lush, rhythmically dynamic, and compositionally solid as rock, and the ensemble dimensions of Ensemble 415 are just the right fit for it. The performances are emotionally responsive and strive for a beautiful ensemble blend; they are exquisite overall, although careful ears might detect some confusion in the theorbo part in the Largo of the Sonata No. 5 in B flat. Nevertheless, if you've ever wondered where J.S. Bach got the idea for the second Allegro in the Third Brandenburg Concerto, you need look no further than the one that concludes Sonata No. 5 in this set. If that's not enticement enough, suffice it is to say Zig Zag Territories' Albinoni: Sinfonie a Cinque, Op. 2, is urgently recommended for those afflicted with a taste of high-quality Baroque music and will happily appeal to less specialized musical interests who just want to hear something pleasing, yet substantial. --- Uncle Dave Lewis , Rovi

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Vespetta e Pimpinone

1.Intermezzo I: Aria: Chi mi vuol son Cameriera (Vespetta)
2.Intermezzo I: Recitative: Cerco la mia ventura (Vespetta, Pimpinone)
3.Intermezzo I: Duet: Nel petto il cor mi giubila (Pimpinone, Vespetta)
4.Intermezzo II: Recitative: Vespetta, tu lasciarmi (Pimpinone, Vespetta)
5.Intermezzo II: Aria: Guarda un poco (Pimpinone)
6.Intermezzo II: Recitative: Tacete, ah troppo an'chio (Pimpinone, Vespetta)
7.Intermezzo II: Aria: Io non son una di quelle (Vespetta)
8.Intermezzo II: Recitative: Cosi va ben, facciamo i nostri patti (Pimpinone, Vespetta)
9.Intermezzo II: Duet: Stendi, uh che allegrezza (Pimpinone, Vespetta)
10.Intermezzo III: Recitative: Io vado ove mi piace (Vespetta, Pimpinone)
11.Intermezzo III: Aria: So quel che si dice, e quel che si fa (Pimpinone)
12.Intermezzo III: Recitative: Per questa volta andate, ma presto ritornate (Pimpinone, Vespetta)
13.Intermezzo III: Aria: Voglio far come fan l'altre (Vespetta)
14.Intermezzo III: Recitative: Ma s'io giocassi e che diresta allora? (Pimpinone, Vespetta)
15.Intermezzo III: Duet: Se mai piu (Vespetta, Pimpinone)

6 Balletti a cinque: Introduzione I

16.I. Adagio
17.II. Allemanda
18.III. Gigha
19.IV. Gavotta: Presto

6 Balletti a cinque: Introduzione II

20.I. Grave
21.II. Allemanda: Allegro
22.III. Corrente: Allegro
23.IV. Sarrabanda: Presto

6 Balletti a cinque: Introduzione III

24.I. Adagio
25.II. Allemanda: Allegro
26.III. Gigha
27.IV. Gavotta: Presto

6 Balletti a cinque: Introduzione IV

28.I. Adagio
29.II. Allemanda: Allegro
30.III. Corrente
31.IV. Sarrabanda: Presto

6 Balletti a cinque: Introduzione V

32.I. Adagio
33.II. Allemanda: Allegro
34.III. Corrente: Allegro
35.IV. Gavotta: Presto

6 Balletti a cinque: Introduzione VI

36.I. Adagio
37.II. Allemanda
38.III. Corrente alla Francese
39.IV. Sarrabanda alla Francese

Edit Károly (soprano)
Viktor Massányi (baritone)
Savaria Baroque Orchestra
Pál Németh - conductor

In the early years of the eighteenth century, Apostolo Zeno and other dramatic poets began reforming the way serious operas were presented. It had been common practice to include comic scenes within a serious opera and to provide lavish entertainments known as intermedi between the acts. With the reforms, opera librettos were purged of comic scenes or characters, and extraneous spectacle was discouraged. However, the tradition of interweaving the acts of a smaller work of a contrasting genre between the acts of a larger, more serious work persisted, and the result was the emergence of the comic intermezzo. Albinoni's setting of Pimpinone is one of the earliest of the Venetian intermezzi to survive from this time period. It consists of three intermezzi with a linking plot. The first two were performed after the first and second acts, while the third was placed somewhere within the final act of the serious opera, as a respite during a scene change. The librettist of Pimpinone was Pietro Pariati. His text sparkles with wit, humor, repartee, and comic wrangling. The story contrasts two stock characters of Italian comedy, the guileful young female servant girl and the gullible old member of the Italian nobility. The themes are of social conflict between the classes, and the comedy satirizes everyday Venetian life. Albinoni's setting is marked by brief arias and duets, delightful, simple melodies, playful counterpoint, and a parlando style that looks forward to the buffo writing that emerged later in the century. The original performance of Pimpinone was given at the premiere of Astarto, a serious opera by Albinoni, at the Teatro S. Cassiano of Venice, in 1708. Pimpinone quickly became a standard work in the operatic repertoire and was performed internationally, as far away as Moscow and Ljubljana. Performance traditions grew up around pairs of players, such as Rosa Ungarelli and Antonio Ristorini, who specialized in comic roles and took the intermezzi from city to city and from theater to theater as they traveled. ---Rita Laurance, allmusic.com

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1. Concerto For Violin And Strings Op. 9/1 B Flat-major : Allegro	03:12
2. Concerto For Violin And Strings Op. 9/1 B Flat-major : Adagio	01:46
3. Concerto For Violin And Strings Op. 9/1 B Flat-major : Allegro	02:28
4. Concerto Op. 9/10 In F-major For Violin And Strings : Allegro	03:28
5. Concerto Op. 9/10 In F-major For Violin And Strings : Adagio	03:23
6. Concerto Op. 9/10 In F-major For Violin And Strings : Allegro	03:28
7. Concerto Op. 9/7 D-major For Violin And Strings : Allegro	03:30
8. Concerto Op. 9/7 D-major For Violin And Strings : Andante E Sempre Piano	07:37
9. Concerto Op. 9/7 D-major For Violin And Strings : Allegro	02:41
10. Concerto Op. 9/4 A-major For Violin And Strings : Allegro	03:25
11. Concerto Op. 9/4 A-major For Violin And Strings : Adagio	02:17
12. Concerto Op. 9/4 A-major For Violin And Strings : Allegro	03:01

Tanja Becker-Bender (Violin)
European Chamber Soloists
Nicol Matt – conductor

String instruments and especially the violin demanded a key position in Baroque music particularly in Italy. Like many of his contemporaries Tomaso Albinoni composed a large number of pieces for string ensemble and many concertos for the violin. With his concertos for one and two oboes Albinoni more or less introduced a new genre. He did not copy Vivaldi's violin concerto form but for both form and style drew on his vast experience as an opera composer. Most entertaining Baroque music elegantly performed by the Stuttgart Chamber Orchestra under Nicol Matt, with Stefan Schilli, oboe, and Tanja Becker-Bender, violin. --- brilliantclassics.com

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CD 1
1. Concerto no.1 in D major for strings and continuo: (Allegro) 	
2. Concerto no.1 in D major for strings and continuo: Adagio e staccato 	
3. Concerto no.1 in D major for strings and continuo: Allegro assai 	
4. Concerto no.2 in C major for 2 oboes, strings and continuo: Allegro 	
5. Concerto no.2 in C major for 2 oboes, strings and continuo: Adagio 	
6. Concerto no.2 in C major for 2 oboes, strings and continuo: Allegro 	
7. Concerto no.3 in B flat major for oboe, strings and continuo: Allegro 	
8. Concerto no.3 in B flat major for oboe, strings and continuo: Adagio 	
9. Concerto no.3 in B flat major for oboe, strings and continuo: Allegro 	
10. Concerto no.4 in G major for strings and continuo: Allegro 	
11. Concerto no.4 in G major for strings and continuo: Adagio 	
12. Concerto no.4 in G major for strings and continuo: Allegro 	
13. Concerto no.5 in C major for 2 oboes, strings and continuo: (Allegro) 	
14. Concerto no.5 in C major for 2 oboes, strings and continuo: Adagio 	
15. Concerto no.5 in C major for 2 oboes, strings and continuo: Allegro 	
16. Concerto no.6 in D major for oboe, strings and continuo: Allegro 	
17. Concerto no.6 in D major for oboe, strings and continuo: Adagio 	
18. Concerto no.6 in D major for oboe, strings and continuo: Allegro 	
19. Concerto no.7 in A major for strings and continuo: (Allegro) 	
20. Concerto no.7 in A major for strings and continuo: Adagio 	
21. Concerto no.7 in A major for strings and continuo: Allegro 	
22. Concerto no.8 in D major for 2 oboes, strings and continuo: (Allegro) 	
23. Concerto no.8 in D major for 2 oboes, strings and continuo: Largo 	
24. Concerto no.8 in D major for 2 oboes, strings and continuo: Allegro 	

CD 2
1. Concerto no.9 in F major for oboe, strings and continuo: Allegro 	
2. Concerto no.9 in F major for oboe, strings and continuo: Adagio 	
3. Concerto no.9 in F major for oboe, strings and continuo: Allegro 	
4. Concerto no.10 in B flat major for strings and continuo: Allegro 	
5. Concerto no.10 in B flat major for strings and continuo: Adagio 	
6. Concerto no.10 in B flat major for strings and continuo: Allegro 	
7. Concerto no.11 in C major for 2 oboes, strings and continuo: Allegro 	
8. Concerto no.11 in C major for 2 oboes, strings and continuo: Adagio 	
9. Concerto no.11 in C major for 2 oboes, strings and continuo: Allegro 	
10. Concerto no.12 in C major for oboe, strings and continuo: Allegro 	
11. Concerto no.12 in C major for oboe, strings and continuo: Adagio 	
12. Concerto no.12 in C major for oboe, strings and continuo: Allegro 	
13. Sonata a 5 in G minor, op.2 no.6: Adagio 	
14. Sonata a 5 in G minor, op.2 no.6: Allegro 	
15. Sonata a 5 in G minor, op.2 no.6: Grave 	
16. Sonata a 5 in G minor, op.2 no.6: Allegro 	
17. Sonata a 5 in D major, op.2 no.5: Grave 	
18. Sonata a 5 in D major, op.2 no.5: Allegro 	
19. Sonata a 5 in D major, op.2 no.5: Adagio 	
20. Sonata a 5 in D major, op.2 no.5: Allegro

Heinz Holliger – oboe
Maurice Bourgue – oboe
Luciano Vicari (Viola)
Claudio Buccarella [Violin] (Violin)
Federico Agostini (Violin)
Francesco Strano (Cello)
Massimo Paris (Viola)
Maria Teresa Garatti (Harpsichord)
I Musici (Ensemble)

Interestingly, this set from the early 1990s remains one of only two collections of Albinoni's Op. 7 concertos available complete in one package. (The other is from 1999, performed by the Berlin Chamber Orchestra, also on Philips.) Not that most listeners will feel a great need to own all 12 of these very expertly written concertos, full of catchy tunes (à la Handel), buoyant rhythms, pensive slow movements, engaging solo parts, and, well, most everything an Italian Baroque concerto grosso should have. It's just that there's not a lot of variety--that next level of ingenuity (again, as in Handel's works in the genre) that would take these very accomplished concertos beyond their intended purpose as functional entertainment.

Nevertheless, I Musici, along with top-notch oboe soloists Heinz Holliger and Maurice Bourgue, delivers performances as sonorous and stylish as you'll hear from one of the world's best modern-instrument ensembles, and the sound is fine if a bit on the bright side. Baroque oboe fans will enjoy this, of course, as will anyone who appreciates the mostly sunny demeanor and ear-pleasing sounds of early-18th-century Italian orchestral music. (And speaking of Handel, I Musici's excellent but previously out-of-print set of Op. 6 concertos, recorded around the same time as this Albinoni collection, is available again through Arkivmusic.com's "on demand" service.) ---David Vernier, ClassicsToday.com

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1. No. 1 in Do maggiore: Preludio: Largo 
2. No. 1 in Do maggiore: Allemanda: allegro
3. No. 1 in Do maggiore: Corrente: allegro
4. No. 1 in Do maggiore: Gavotta: presto
5. No. 2 in Mi minore: Allemanda: largo
6. No. 2 in Mi minore: Sarabanda: allegro
7. No. 2 in Mi minore: Giga: allegro
8. No. 3 in Sol maggiore: Preludio: largo
9. No. 3 in Sol maggiore: Allemanda: allegro
10. No. 3 in Sol maggiore: Corrente: allegro
11. No. 3 in Sol maggiore: Gavotta: presto
12. No. 4 in La maggiore: Preludio: largo
13. No. 4 in La maggiore: Allemanda: allegro
14. No. 4 in La maggiore: Sarabanda: allegro
15. No. 4 in La maggiore: Giga: allegro
16. No. 5 in Re minore: Allemanda: largo apoggiato
17. No. 5 in Re minore: Corrente: allegro
18. No. 5 in Re minore: Giga: allegro
19. No. 6 in Fa maggiore: Preludio: largo
20. No. 6 in Fa maggiore: Allemanda: allegro
21. No. 6 in Fa maggiore: Sarabanda: allegro
22. No. 6 in Fa maggiore: Gavotta: presto
23. No. 7 in Re maggiore: Preludio: largo
24. No. 7 in Re maggiore: Allemanda: allegro
25. No. 7 in Re maggiore: Corrente: allegro
26. No. 7 in Re maggiore: Sarabanda: allegro 
27. No. 8 in Do minore: Allemanda: largo 
28. No. 8 in Do minore: Corrente: allegro assai 
29. No. 8 in Do minore: Giga: allegro 
30. No. 9 in Sol minore: Preludio: largo 
31. No. 9 in Sol minore: Allemanda: allegro 
32. No. 9 in Sol minore: Sarabanda: allegro 
33. No. 9 in Sol minore: Giga: allegro 
34. No. 10 in mi maggiore: Preludio: largo 
35. No. 10 in mi maggiore: Allemanda: presto 
36. No. 10 in mi maggiore: Corrente: allegro assai
37. No. 10 in mi maggiore: Giga: allegro
38. No. 11 in La minore: Allemanda: larghetto
39. No. 11 in La minore: Sarabanda: allegro 
40. No. 11 in La minore: Gavotta: presto 
41. No. 12 in Sib maggiore: Preludio: largo 
42. No. 12 in Sib maggiore: Allemanda: allegro 
43. No. 12 in Sib maggiore: Corrente: allegro 
44. No. 12 in Sib maggiore: Giga: allegro

Ensemble Benedetto Marcello

Tomaso Albinoni, through the intrigue of the musicologist who loved him too well, Remo Giazotto, is largely known to the public through a work he'd no part of, the completely spurious Adagio for organ and strings. Had it not been for Giazotto's appealing forgery, drawn from J.S. Bach, the public might never have known Albinoni's name and he would remain a specialist taste. But on the other hand, it obscures Albinoni's genuine works, which are immediately appealing; in one respect dance-like and filled with close, busily polyphonic textures that we associate with Bach, and in others with a loving, generous kind of melodic line that has its roots in the 83 or so operas he composed, all but three lost to us. There have been occasional attempts to represent Albinoni's catalog a bit more fully, and a major catalog gap in his output is filled by Bongiovanni's Albinoni: Balletti a tre, Op. 3. Performed by the Ensemble Benedetto Marcello, this disc contains the 12 trio sonatas contained in Albinoni's Opus 3 set, which appeared in 1701 and is such a rare edition that only two copies of the early print are known to exist.

Like Hyperion's recording of Albinoni's Trattinamenti armonici, Op. 6, performed by the Locatelli Trio, makes clear, there is a lot to love in Albinoni's instrumental music, and recording whole published sets of it, as is common for his contemporary Vivaldi, is a good idea. The Ensemble Benedetto Marcello succeeds in making the case for the Balletti, but just barely. Bongiovanni's recording is almost totally lacking in low end, so the cello is rather hard to hear, and the clavicembalo (which suspiciously sounds like a harpsichord, but who can really tell?) is absent for the whole recording. That leaves the two violins in the foreground carrying most of the musical weight, and between these two players, there is almost no vibrato employed. There is no information about precisely what instruments are employed -- they look old in the photograph -- or about tuning, so the playing, while rhythmically fleet and stylish, is compromised by the fact that instruments and recording both sound underfed and scrawny.

This doesn't mean, though, that this recording is unlistenable. It can be quite pleasant to listen to in short stretches, and for those whose systems can artificially add some bass to the sonic picture may be able to enjoy it for longer spans of time. Nevertheless, Bongiovanni cannot be excused for making the listener work so hard to enjoy this disc. It's great middle-Baroque dance music, and one can easily hear in this what Bach gained from listening to Albinoni. Despite it being touted as a "World-Premiere Recording," one cannot be blamed for pretending that the Opus 3 set will not be truly recorded until someone else does it, or until Bongiovanni scraps its exiting Albinoni: Balletti a tre, Op. 3, and issues it in better sound that this. --- Uncle Dave Lewis, allmusic.com

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1. Tomaso Albinoni - Concerto No. 1 for Violin in B flat major, Op. 9,1- 1. Allegro (03:35)
2. Tomaso Albinoni - Concerto No. 1 for Violin in B flat major, Op. 9,1- 2. Adagio (01:52)
3. Tomaso Albinoni - Concerto No. 1 for Violin in B flat major, Op. 9,1- 3. Allegro (02:49)
4. Tomaso Albinoni - Concerto No. 2 for Oboe in D minor, Op. 9,2- 1. Allegro e non presto (04:10)
5. Tomaso Albinoni - Concerto No. 2 for Oboe in D minor, Op. 9,2- 2. Adagio (05:24)
6. Tomaso Albinoni - Concerto No. 2 for Oboe in D minor, Op. 9,2- 3. Allegro (02:58)
7. Tomaso Albinoni - Concerto No. 3 for 2 Oboes in F major, Op. 9,3- 1. Allegro (04:58)
8. Tomaso Albinoni - Concerto No. 3 for 2 Oboes in F major, Op. 9,3- 2. Adagio (03:10)
9. Tomaso Albinoni - Concerto No. 3 for 2 Oboes in F major, Op. 9,3- 3. Allegro (03:55)
10. Tomaso Albinoni - Concerto No. 4 for Violin in A major, Op. 9,4- 1. Allegro (03:48)
11. Tomaso Albinoni - Concerto No. 4 for Violin in A major, Op. 9,4- 2. Adagio (03:09)
12. Tomaso Albinoni - Concerto No. 4 for Violin in A major, Op. 9,4- 3. Allegro (03:33)
13. Tomaso Albinoni - Concerto No. 5 for Oboe in C major, Op. 9,5- 1. Allegro (03:45)
14. Tomaso Albinoni - Concerto No. 5 for Oboe in C major, Op. 9,5- 2. Adagio (03:11)
15. Tomaso Albinoni - Concerto No. 5 for Oboe in C major, Op. 9,5- 3. Allegro (03:36)
16. Tomaso Albinoni - Concerto No. 6 for 2 Oboes in G major, Op. 9,6- 1. Allegro (03:48)
17. Tomaso Albinoni - Concerto No. 6 for 2 Oboes in G major, Op. 9,6- 2. Adagio (03:15)
18. Tomaso Albinoni - Concerto No. 6 for 2 Oboes in G major, Op. 9,6- 3. Allegro (03:02)
19. Tomaso Albinoni - Concerto No. 7 for Violin in D major, Op. 9,7- 1. Allegro (03:45)
20. Tomaso Albinoni - Concerto No. 7 for Violin in D major, Op. 9,7- 2. Andante e sempre piano (04:43)
21. Tomaso Albinoni - Concerto No. 7 for Violin in D major, Op. 9,7- 3. Allegro (03:05)
22. Tomaso Albinoni - Concerto No. 8 for Oboe in G minor, Op. 9,8- 1. Allegro (04:27)
23. Tomaso Albinoni - Concerto No. 8 for Oboe in G minor, Op. 9,8- 2. Adagio (02:40)
24. Tomaso Albinoni - Concerto No. 8 for Oboe in G minor, Op. 9,8- 3. Allegro (04:09)
25. Tomaso Albinoni - Concerto No. 9 for Violin and 2 Oboes in C major, Op. 9,9- 1. Allegro (04:08)
26. Tomaso Albinoni - Concerto No. 9 for Violin and 2 Oboes in C major, Op. 9,9- 2. Adagio (03:19)
27. Tomaso Albinoni - Concerto No. 9 for Violin and 2 Oboes in C major, Op. 9,9- 3. Allegro (03:46)
28. Tomaso Albinoni - Concerto No. 10 for Violin in F major, Op. 9,10- 1. Allegro (03:44)
29. Tomaso Albinoni - Concerto No. 10 for Violin in F major, Op. 9,10- 2. Adagio (04:07)
30. Tomaso Albinoni - Concerto No. 10 for Violin in F major, Op. 9,10- 3. Allegro (03:35)
31. Tomaso Albinoni - Concerto No. 11 for Oboe in B flat major, Op. 9,11- 1. Allegro (04:29)
32. Tomaso Albinoni - Concerto No. 11 for Oboe in B flat major, Op. 9,11- 2. Adagio (03:56)
33. Tomaso Albinoni - Concerto No. 11 for Oboe in B flat major, Op. 9,11- 3. Allegro (03:24)
34. Tomaso Albinoni - Concerto No. 12 for Violin and 2 Oboes in D major, Op. 9,12- 1. Allegro (03:16)
35. Tomaso Albinoni - Concerto No. 12 for Violin and 2 Oboes in D major, Op. 9,12- 2. Adagio (02:47)
36. Tomaso Albinoni - Concerto No. 12 for Violin and 2 Oboes in D major, Op. 9,12- 3. Allegro (01:40)
37. Tomaso Albinoni - Adagio for Strings and Organ in G minor (Revised by Remo Giazotto) (06:58)

Heinz Holliger - oboe
Maurice Bourgue – oboe
Felix Ayo – violin

I Musici (Ensemble)

You can't miss with the combination of any baroque composition and a performance by I Musici. Their superb musicianship and interpretation of this type of music hasn't been equaled.

Recorded in '67, Opus 9 is 4 sets of concertos, each starting with one for solo violin (Felix Ayo), then one for oboe (Heinz Holliger), and ending with one for 2 oboes (Maurice Bourque plays the 2nd oboe). This beautiful music from 18th Cent. Venice is a delight, and this CD finishes with the famous Adagio for Organ, played by Maria Theresa Garatti, and recorded in 1960. Familiar to many ears because of its use in films, etc. (like "Gallipoli"), with its soaring, gorgeous melody that will uplift any soul. At one time I had several recordings of this piece, but when you've got the best (this one), why mess with the rest.

The packaging on this 2 disc CD set is minimal, with a small info booklet, and the dreaded jewel case with the center flap to release the 2nd CD (oh ! I hate those center flaps), but this is great stuff, and worth flipping the flap for. --- Alejandra Vernon "artist & illustrator" (Long Beach, California)

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01. Concerto n. 4 in Sol Magg. - 1. Allegro 04:23
02. Concerto n. 4 in Sol Magg. - 2. Andante 03:53
03. Concerto n. 4 in Sol Magg. - 3. Allegro 02:11
04. Concerto n. 11 in do min. - 1. Allegro 04:24
05. Concerto n. 11 in do min. - 2. Larghetto 02:08
06. Concerto n. 11 in do min. - 3. Allegro assai 01:40
07. Concerto n. 9 in Do Magg. - 1. Allegro 02:50
08. Concerto n. 9 in Do Magg. - 2. Larghetto 02:30
09. Concerto n. 9 in Do Magg. - 3. Allegro 02:52
10. Concerto n. 8 in sol min. - 1. Allegro 04:09
11. Concerto n. 8 in sol min. - 2. Largo 02:46
12. Concerto n. 8 in sol min. - 3. Allegro 03:09
13. Concerto n. 5 in La Magg. - 1. Allegro 02:51
14. Concerto n. 5 in La Magg. - 2. (Andante) 03:08
15. Concerto n. 5 in La Magg. - 3. Allegro 02:38
16. Concerto n. 7 in Fa Magg. - 1. Allegro 03:02
17. Concerto n. 7 in Fa Magg. - 2. Andante 03:45
18. Concerto n. 7 in Fa Magg. - 3. Allegro 02:52
19. Concerto n. 2 in sol min. - 1. Allegro 03:24
20. Concerto n. 2 in sol min. - 2. Andante 03:40
21. Concerto n. 2 in sol min. - 3. Allegro 03:14
22. Concerto n. 1 in Si b Magg. - 1. Allegro 02:08
23. Concerto n. 1 in Si b Magg. - 2. Adagio 02:25
24. Concerto n. 1 in Si b Magg. - 3. Allegro 02:03

Harmonices Mundi 
Claudio Astronio – conductor

Recorded Sept. 6-8, 2004, Sala Gustav Mahler, Centro Convegni Grand Hotel Dobbiaco.

The Venetian composer Tomaso Albinoni was one of the very first composers to regularly use the three-movement form for concertos already employed by Giuseppe Torelli in his Sinfonias written for the instrumental groups at San Petronio in Bologna. His Concerti a cinque opus 10 were published Amsterdam in 1735 or 1736, when the composer's international fame was already consolidated. Their success was closely linked to melodic inspiration, and the fact that the technical demands placed on performers were not excessive meant that these works were much sought after, especially by amateurs.

As well as being a a harpsichordist, organist and conductor of Harmonices Mundi, the early instrument ensemble featured on this current Hybrid SACD, Claudio Astronio is also a founding member of the Musica Antiqua association in Bolzano and works as artistic director of the International Festival of Early Music. ---Editorial Reviews

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