Composer: W.A. MOZART (1756-1791)
Works: Bassoon Concerto in B flat K191; Michael HAYDN (1737-1806) Concertino for Bassoon in B flat Perger 52/5; Karl STAMITZ (1741-1801) Bassoon Concerto in F; Carl Maria von WEBER (1786-1826) Andante e Rondo Ungarese Op.35; Bassoon Concerto in F Op.75
Performers: Lawrence Perkins (bassoon), Manchester Camerata, Douglas Boyd (conductor)
Recording: RNCM, Manchester, 11-12 April 2001
Label: HYPERION CDA67288
The bassoon, often relegated to the shadows of orchestral color, finds a radiant advocate in Lawrence Perkins on this splendid disc. Each of the works presented here reveals the instrument’s expressive range, from the lyrical elegance of Mozart’s Bassoon Concerto to the dramatic flair of Weber’s concertos. Historically, the bassoon has struggled for recognition, yet its rich tonal possibilities and unique timbral character are beautifully showcased in this collection, reflecting a lineage of composers who have appreciated its potential.
Perkins’s interpretive choices are particularly noteworthy in the Mozart Concerto, the most celebrated work for the instrument. The opening Allegro is marked by a buoyant energy, though one might argue that the fluctuations in tempo, especially during the rapid passage work, could have benefitted from a steadier hand. In the sublime Andante, a moment of introspection, Perkins’s phrasing is elegant, though an inclination toward more operatic expressiveness could elevate its emotional depth, emphasizing the tension that underlies its serene surface. Comparatively, recordings by Valeri Popov and Maurice Allard offer a more pronounced dramatic flair, which might appeal to those seeking a more flamboyant interpretation.
The lesser-known gems shine brightly on this disc, particularly Michael Haydn’s Concertino. Perkins imbues this work with a sense of sincerity and charm that is utterly captivating. His attention to detail here makes the piece resonate with a freshness that belies its age, proving that even works by less heralded composers warrant a place in the modern repertoire. The Karl Stamitz Bassoon Concerto provides a delightful contrast, showcasing the influence of the Mannheim school. Perkins’s vigorous approach, particularly in the articulated passages, brings forth the drama inherent in the work. This performance stands out as a testament to Perkins’s ability to navigate the nuances of early Classical style with both flair and precision.
Weber’s contributions, namely the Hungarian Andante and Rondo and the Bassoon Concerto, are executed with commendable finesse. Perkins’s polished technique shines in the Rondo, although one might wish for a more unabashed display of virtuosity, particularly towards the conclusion, where the music demands a more exuberant character. The Manchester Camerata under Douglas Boyd provides a robust and stylish accompaniment, their modern instruments blending seamlessly with Perkins’s warm, reedy tone, ensuring that the ensemble balances well throughout the recording.
The sound quality of this Hyperion release is exemplary, capturing the nuances of Perkins’s playing with clarity and warmth. The engineering allows the listener to appreciate the intricate interplay between soloist and orchestra, highlighting both the lyrical and more raucous moments of the repertoire.
This disc not only serves as a delightful introduction to a range of bassoon repertoire but also as a testament to Perkins’s artistry. His thoughtful interpretations breathe new life into both well-known and obscure works, engaging audiences with the bassoon’s rich expressive capabilities. A labor of love, this recording stands as an important contribution to the discography of the instrument, inviting listeners to appreciate the bassoon’s role as a vital voice in the chamber and orchestral landscape.
