Il Fondamento directed by Paul Dombrecht records a collection of oboe concertos by Tomaso Albinoni from his opus 7 and 9 collections on Fuga Libera.
I've not really enjoyed what the test of time has done to Collegium Musicum 90s recordings of Albinoni's concertos with Anthony Robson. They suffer an almost over-done politeness to them, which would work well for Sunday brunch at a posh London hotel. Even high tea. Imagine the lilting famous adagio from the famous op. 9 concerto, wafting over you, while you sip black tea with milk and sugar, with cucumber sandwiches.
Except the sound of that man's oboe is no friend to my ears.
@DarioMareno suggested this morning I look at the recording being reviewed here. It was new to me, even though the ensemble was not.
The complete opus 9 set by AAM under Manze was not terribly different than the set conducted by Simon Standage. The oboe playing was a notch higher with Frank de Bruine. But these concertos need some of that Italian flare. Dombrecht and company deliver in full force.
This group has made a very clear recording. There's plenty of brightness and vigor from the continuo team, bounce from the entire ensemble, and an oboe that blends nicely into the ensemble.
It's a very live sound that emerges, say in the Op. 9 no. 8 concerto, a familiar tune to any fan of Albinoni. The tempo is perhaps a tad faster than most, but notice the nice pulse going on about every 4 strong beats. Momentum established, then in the first movement when the oboe hits those long notes, real beauty emerges. The bounce is underneath, and the oboe's hanging tone is sublime over top. These folks know how to make the music sing.
Dynamics are used to great effect. Their style isn't exactly like that of Europa Galante's Fabio Biondi; things aren't over done, where sometimes FB can go, to be different. Instead, Fondamento are having fun with impeccable style.
The stereo separation on this recording is interesting; I feel as if I am really sitting in front of the orchestra, and they are around me. It's a fulfilling effect, with Dombrecht to my right. Clear playing all around.
This is got to be the best Albinoni recording made. If I could make a criticism, they could actually relax during some of the fast movements (op. 9, no. 11 as an example) with the tempo… they set it and forget it. Having a little more flexibility would push this performance into the realm of perfection. But I'll still take what they've left us without reservation.
Recommended for sure.
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