Simone Bensi: oboe
Marco Ortolani: clarinet
Gianfranco Dini: horn
Claudio Verh: bassoon
Carlo Ipata: traverso

Programme:

Giovanni Gioacchino Maria Cambini(1746 – 1825):
Trois Quinttetti concertans
Allegro maestoso / Larghetto cantabile / Rondo: Allegretto grazioso

Gioacchino Rossini (1792 – 1868):
Tema con variazioni per flauto, clarinetto, corno,fagotto:
Andante / allegretto

Ludwig Van Beethoven (1770 – 1791):
Duo per clarinetto e fagotto:
Allegro sostenuto / Aria con variazioni (andantino con moto)
(woO 27 N°3)

Antonin Reicha (1770 – 1836):
Quintetti op 88
Quintetto op 88 n°3 in G major
Introductione: lento / Alegro assai / Adante / Menutetto: allegro vivo / Finale:allegro vivace.

About the Programme:

Giuseppe Cambini (Livorno, 1746–Paris, 1825) – Quintet No. 1

In the history of wind quintets, Giuseppe Cambini is considered the inventor of the genre. He was the first to compose music for a chamber group playing solely on wind instruments. His Trois Quintetti Concertans were published between 1797 and 1799: only W.A. Mozart’s Quintet K452 could be considered as a precursor to this type of music; it was composed for the oboe, clarinet, horn, bassoon and piano, and published later in 1800. The three Cambini quintets that still today preserve the freshness of novelty precede the 24 world-famous Reicha quintets by at least 20 years, but are closer to the concert symphony – obviously reduced to its essential form – and less to the string quartet where the first violin prevails.

Gioacchino Rossini (Pesaro, 1792–Passy de Paris, 1868) – Tema con Variazioni

Even if not considered one of the greatest masterpieces of Rossini, the style of the Tema con Variazioni is unique from the first bar: irony and great inventiveness are enclosed in a formal and consolidated rigour. After a brief introduction, the theme springs up for the first time entrusted to the persuasive tone-colour of the bassoon, which gives free rein to the rest of the instruments. The variations, lively and vivacious, give the piece a rippling character. Indubitably the finale – the inevitable Rossini crescendo – wins applause.

Ludwig van Beethoven (Bonn, 1770–Vienna, 1827) – Duo for clarinet and bassoon Wo027 No. 3

Undoubtedly composed between the end of the 1700s and the first years of the 1800s, this piece has not always been attributed to the young Beethoven: according to the critics, the style is recognizable, but it makes no real difference to the composer’s genius whether the piece is part of his oeuvre or not. The piece is composed of two movements: allegro sostenuto and aria with (four) variations, followed by a quick allegro finale.

Antonin Reicha (Prague, 1770–Paris, 1836) – Quintet op. 88 No. 3

Antonin Reicha was a prolific composer and instructor, always in contact with the great musicians of his time (Beethoven, Haydn, Cherubini) and able to influence the younger generation of musicians (Berlioz, Liszt, Wagner) with his intuition. The compositions for wind instruments provide evidence of his originality and genius – especially the 24 quintets for wind instruments, in which Reicha reaches the pinnacle of great music. Quintet op. 88 No. 3 is highly representative of his style. It consists of four contrasting movements in which, with a touch of irony, some thematic ideas spring over from one movement to the next: a fast introduction, a slow tempo, an allegro in minuet time and a very fast (scherzo) closing movement.
 

 Bio:
The Ensemble dell'Accademia was created within the Accademia Bartolomeo Cristofori, a Florentine Institute which is dedicated to the spreading of fortepiano and its repertoire. The musicians of this ensemble both collaborate with the best ensembles and orchestras which are active in the field of early music – Sonatori della Gioiosa Marca, Barocchisti, Europa Galante, Concerto Italiano, Giardino Armonico, and usually play as principals in some important symphonic orchestras – Maggio Musicale Fiorentino, Orchestra of Toscana and Orchestra of the Teatro Verdi of Trieste. They have decided to put together their experiences in a joint project which aims to offer a modern listening of the classic and pre-classic repertoire for wind instruments.