Winds Horns

A varied double live set, where Magma speaks and sings in Kobaïan of course, but also in French and English ; so it can be a good introduction for those who are willing to discover them. The presence of a horn section make them sound much more funky and soulful than usual, and "Otis" is a tribute to Otis Redding…

The Beethoven wind music is, happily, already well represented in the catalogues. None of the pieces listed above has needed the help of the composer's bi-centenary to achieve a recording; and only, I believe, the doubtfully attractive Trio for piano, flute and bassoon is not otherwise at present available. Indeed the catalogues go better than this, producing in addition to the above list the Duos for clarinet and bassoon, the Trio for two oboes and cor anglais (both of these a happier sound than you might think), the Trio for piano, clarinet and cello, the Octet Rondino, and some flute oddities perhaps most likely to appeal to connoisseurs of that instrument.

With parents as professional opera singers, it is not surprising that Antonio Cartellieri (1772-1807) learned music at an early age. By his Latvian born mother’s account, she would sing to him for hours when he was young. With his talent nurtured at his mother’s knee, he took his first musical position at 18, becoming the court composer for Count Oborsky of Poland in 1791. The 2nd volume of his clarinet quartets contains two of those chamber works, as well as a 10 instrument divertimento that may be the most satisfying composition on the recording. Listed as No.3, the B Flat Quartet opens with a triple metered ‘Allegro’ that has none of the typical dancing lilt usually linked with that time signature.

Mozart for Wind Octet - Oslo Kammerakademi (2017) {Digital Download Lawo Classics LWC1141}
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Classical / Viennese School / Instrumental Music / Oboe

OSLO KAMMERAKADEMI performs chamber music for winds with the historical Harmoniemusik instrumentation as a foundation. Founded by Artistic Director and oboist David Friedemann Strunck (solo oboe, Oslo Philharmonic), the ensemble has established itself as a leader in Europe, with critically acclaimed CD recordings and invitations to prestigious festivals including the Schleswig-Holstein Music Festival.

There is a story about Arnold Schoenberg that bears retelling now. He was in the midst of teaching a class at UCLA when a colleague burst in excitedly proclaiming "Arnold! I am just hearing Verklärte Nacht mit HORNS!" Amid much startled posturing the two rushed out to destinations unknown, leaving the class unacknowledged. But all the various arrangements of Schoenberg’s work (I’ve never heard it with horns, but the string orchestra version with timpani is quite a good one) don’t begin to compare with the numerous outrages wreaked upon this helpless Vivaldi composition.

The circle of musicians surrounding Germany's audiophile MDG label has been responsible for several important discoveries in the music of the late 18th century, and this pair of chamber works for winds and strings, unearthed by bassoonist Rainer Schottstädt of the Calamus Ensemble, must rank among the nicest. Composer Luigi Gatti crossed paths with Mozart several times; in 1783, after Mozart had left Salzburg, he become court music director to the infamous Archbishop Colloredo. The Sextet for English horn, bassoon, violin, viola, cello, and double bass recorded here may have been composed in 1790, and the uniquely titled Serenata a più stromenti di Concerto seems to be of roughly the same vintage.