Saint-Saëns: Bassoon Sonata in G major, Op. 168

Bassoonist extraordinaire Judith Leclair, principal of the New York Philharmonic, revels in the virtuosity of chamber works featuring her instrument.

The bassoon captured a remarkable degree of attention when it became one of the highlights of BBC 2’s Classical Star, thrusting the instrument into a rare solo spotlight. America’s leading lady of the bassoon, New York Philharmonic principal Judith Leclair, steps into the limelight with an awe-inspiring performance of virtuoso chamber works featuring her instrument’s distinctive qualities. Joined by two acclaimed American colleagues – Pittsburgh Symphony principal harpist Gretchen Van Hoesen, and eminent chamber pianist Jonathan Feldman – Judith offers a programme of late 19th- and 20th-century works linked by French origins or traditions. Undoubtedly an important document for bassoonists, this is also a disc full of discoveries. From Roger Boutry’s modernist Interférences I and the Chopin-esque Andante and bravura Polonaise by the relatively obscure German bassoonist Ludvig Milde, to Bernard Andrès’ nostalgic Chants D’arriere-Saison (“Songs of a Season Past”), Camille Saint-Saëns’ magical Sonata and Reinhold Glière’s irresistible encore Humoresque¸ Judith Leclair and friends are sure to keep the bassoon to the fore.

Accepted ideas are often persitent. Despite the many arguments for and against it, the basson's reputation remains that of a buffoon. But the bassoon is above all a lyrical instrument with a rich tone, warm and profoundly human. There is much wonderful music for solo bassoon in the symphonic and concerto repertoire, and it had been used to wonderful effect in a host of chamber-music works, from Mozart to Poulenc. The present selection of lesser-know works for bassoon and piano highlight the instrument at its "Romantic" best.