This critical commentary investigates performance practice issues in Tomaso Giovanni Albinoni’s Concerto à cinque, op. 9 no. 5 (Amsterdam: Le Cène, 1722). It aims to stimulate players of the modern oboe to consider an historically informed approach towards the performance of this work through an assessment of relevant literature. Albinoni’s (1671–1750/51) professional career and the musical environment of Venice at this time form the backdrop for the study. The insularity of Albinoni’s life in Venice can be seen to have shaped certain original elements of his work. Furthermore, the increased availability of woodwind virtuosos in northern Italy during the early eighteenth century saw the composition of concertos for the oboe become an established part of Venetian musical life. This critical commentary includes a review of both historical treatises and modern literature that focus on the major performance practice parameters of tempo, dynamics, articulation and ornamentation. The historical treatises provide oboists with an understanding of the general practice during the baroque period, while the modern literature offers further discussion and analysis of these sources, alongside newer ideas for approaching the performance of Albinoni’s concerto. The resulting suggestions should not be regarded as rigid rules that contemporary performers must follow, but rather aim to give them more insight into the possible interpretation of the work. Thus the study provides both background information on the Concerto and guidelines on performance practice to assist oboists in generating their own ideas so that they can then develop their own interpretation of Albinoni’s concerto based on the evidence obtained from extensive research.
| Identifer | oai:union.ndltd.org:ADTP/279361 |
| Creators | Yuen Yee Amy Mak |
| Source Sets | Australiasian Digital Theses Program |
| Detected Language | English |
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