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Oboe and Quintet

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BAROQUE - ITALIAN OBOE CONCERTOS: Oleg Yakubovich (oboe) and Quintet of the Tchaikovsky Big Symphony Orchestra (Moscow)

BAROQUE - ITALIAN OBOE CONCERTOS: Oleg Yakubovich (oboe) and Quintet of the Tchaikovsky Big Symphony Orchestra (Moscow)
ID: RCD10303
CDs: 1
Type: CD
Kolektion: BaroqueSubkolektion: Oboe and Quintet

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Quintet of the Tchaikovsky Big Symphony Orchestra (Moscow):
Kostylev, Sergei (1st violin)
Sidorov, Dmitry (2nd violin)
Skorobogatova, Elena (viola)
Zemlerub, Fyodor (cello)
Golovanov, Igor (double bass)

Quintet of the Tchaikovsky Big Symphony Orchestra (Moscow) It is known that the genre of instrumental concert has its origin in a country that through the ages has concentrated the largest musical centers and gave the world a galaxy of masters who organized the entire opera tradition - in Italy. It was there that Arcangelo Corelli was born, from whom, from the very beginning, one can track the formation of the concert form, which will carry its essence through all stylistic standards justifiably undergoing cardinal metamorphoses and changes in cultural paradigms with the passage of time. The famous musician, an acknowledged interpreter of oboe repertoire Oleg Yakubovich, very sensitively perceived this genre. Together with Nikolai Martynov, a major in historically oriented performing art, and the Quintet of the P. I. Tchaikovsky Great Symphony Orchestra, he prepared for the dear audience an interesting program made up exclusively of Italian concertos, the chronological attribution of which covers on the whole the time from the Middle Baroque to the 20th century.

This program, curated by the distinguished oboist and acclaimed interpreter of the oboe repertoire Oleg Yakubovich, in collaboration with Nikolai Martynov - a noted specialist in historically informed performance - and the Quintet of the Tchaikovsky Symphony Orchestra, presents a unique panorama of Italian concertos. Spanning from the Middle Baroque to the 20th century, the repertoire offers a compelling journey through time, highlighting the evolving language of the concerto across stylistic epochs.
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