Carl Jacobi: Introduction and Polonaise, Op. 9 (1828)

00:00 - I. Intradi: Largo - Quasi recitativo
01:37 - II. Polonaise
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Bassoon: Karen Geoghegan
Conductor: Benjamin Wallfisch
Orchestra: Orchestra of Opera North
Year of Recording: 2008
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"Jacobi must have been one of the most prolific composers for the bassoon of his own or any other time. He is credited with, among other works, three bassoon concertos, a concertino, a concertino for two bassoons and orchestra (believed to be lost), several other works for bassoon and orchestra as well as chamber works, duos for bassoon and piano, eleven duets for two bassoons and a celebrated set of six études for the instrument. Many of Jacobi’s works were published during his lifetime, and many have remained in print. Rewarding to play and well written for the bassoon, they bear testament to his skill as a player. The études have gone through several editions and are still considered useful for their technical and musical qualities.
Jacobi’s Introduction and Polonaise, Op. 9 was first published in 1828 and has remained a popular recital item in its reduction for bassoon and piano. The present disc, however, presents the first recording of its original form for bassoon and orchestra. (William Bailey, a bassoonist in the Hallé Orchestra, copied the score and parts from an unknown source early in the twentieth century.) Though presumably somewhat later than Weber’s work, it is in a similar form with a moderately paced initial movement followed by an ‘exotic’ dance of Eastern European provenance, though in this case the introductory movement has become fairly vestigial and interest is thrown upon the following one. The short Introduction, in E flat, is a kind of operatic recitative recreated in instrumental terms, the bassoon very obviously taking on the role of a vocal soloist with elaborate coloratura roulades. This gives way immediately to the elaborate Polonaise in C major with its catchy main theme in characteristic polonaise rhythm. This movement is in sonatarondo form, the main theme recurring in different tonal situations, with a smoother contrasting subject that appears first in G and is eventually recapitulated in C, in addition to a central episode. The intricate decoration, exploitation of opposing registers, vertiginous scalic passages and lavish use of trills demonstrate Jacobi’s entire command of bassoon technique, while the work’s benign humour and attractive melodic style lend it distinction." (Elizabeth Long)
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Note: I am not 100% sure that the person featured in the introduction is actually Carl Jacobi - very little information on them.
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