“I am really happy to play as a soloist with BFO” – Interview with Andrea Bressan
Congratulations for winning the Végh Competition. Was it very difficult, or you felt, you are good enough to be one of the two winners?
I was not nervous to play for the competition because my feeling was simply to enjoy this Rossini concerto which I played in the competition. I was very happy to play it for the musicians of the jury and for the audience, I hadn’t really the feeling that I was playing to run against other musicians.
Have you ever experienced any competition like this? What is the specialty of the Végh Competition? Does it change your carrier that you were the winner and that you can play as a soloist in the front of Budapest Festival Orchestra?
I already played in other competitions, but I found the atmosphere in Sándor Végh Competition really nice and positive, which helped me a lot to play in the best mood. I liked very much to play for an audience (which is not common in competitions) and to listen to the other colleagues of the orchestra making music and enjoying their performances.
I am really happy to play as a soloist with BFO, it means for me to play this concert with a great orchestra and to play it at top level.
You graduated in classical and baroque bassoon at the Conservatory of Music in Verona. What is the difference between the baroque and the classical bassoon?
The bassoon has a long story, which started in the XVII century, and it had a long and slow development before to arrive as the modern instrument. The baroque and classical bassoon are two different moments of this evolution: the 1st one (historical period around 1680-1760) of course is more primitive, less keys, more intonation problems, more used as bass line, more connected with the past, while the classical bassoon (around 1760-1810) has more keys, more brilliant sound and it ‘s looking more close to the future bassoon.
Are you more interested in baroque music as in other times? Why? What is the most exciting in playing baroque music with authentic instruments?
I like to change as much as I can what I am doing in music: I am very curious about everything in music, I don’t like routine and I’m trying to learn from every experience, this is one of the reasons that I play ancient music with period instruments. On the other hand, the world of the ancient music is really fascinating, the way to play this music and the sounds of these instruments are really coming from another age (and from another humans) and to play this music in this way it’s really exciting: it’s a big challenge and it helps me also to understand better the modern bassoon, which anyway at the moment is the instrument which I am playing the most.
Please, give us some ideas and thoughts about Rossini’s Bassoon concerto? I think, there are not too many pieces for bassoon? Am I right?
Yes, the repertoire for bassoon is not so large, the most important pieces are Vivaldi concertos, Mozart concerto and Weber concerto. This Rossini concerto was discovered only some years ago, the attribution to it of Rossini is not sure: the manuscript is not autograph, but the style seems to be according the Rossini’s style, so probably Rossini worked on it, maybe organizing the music material of somebody else.
It is a really well written composition for my instrument, which has the possibility to show it’s technical and expressive characteristics in a perfect Italian opera style, with moments of sadness and the bell canto alternates with brilliant passages and pure divertimento.