Georg Philipp Telemann

Trio Sonata in A minor, TWV 42:a1 
I. Affettuoso  00:02:20 
II. Vivace  00:01:53 
III. Grave  00:02:14 
IV. Menuet and Trio  00:03:16
_____________________________________

Johann Rosenmuller

Trio Sonata in E minor 
I. Grave  00:01:06 
II. Allegro  00:01:30 
III. Adagio  00:01:23 
IV. Prestissimo  00:00:44 
V. Andante  00:02:50 
_____________________________________

Arcangelo Corelli

Sonata da camera in D minor 
I. Allemanda: Adagio  00:04:17 
II. Corrente: Allegro  00:02:25 
III. Giga: Allegro  00:01:49 
_____________________________________

Johann Adolf Hasse

Trio Sonata in C major 
I. Allegro  00:05:49 
II. Adagio  00:03:55 
III. Allegro  00:03:17 
_____________________________________

Domenico Gabrielli

Balletto a tre 
I. Balletto  00:03:45 
II. Giga  00:01:53 
_____________________________________

Anton Diabelli

Trio  
I. Marcia  00:00:53 
II. Andante cantabile  00:02:57 
III. Scherzando un poco allegro  00:02:02 
IV. Menuetto: Moderato  00:04:36 
V. Allegretto  00:02:51 
_____________________________________

Artists:
Anna Holbling, Quido Holbling - violin
Jozef Zsapka - guitar
Jan Slavik - cello

The Trio Sonata, an instrumental composition generally demanding the services of four players reading from three part-books, assumed enormous importance in Baroque music, developing from its earlier beginnings at the start of the seventeenth century to a later flowering in the work of Handel, Vivaldi and Bach, after the achievements of Arcangelo Corelli in the form. Instrumetation of the trio sonata, possibly for commercial reasons, allowed some freedom of choice. Nevertheless the most frequently found arrangement became that for two violins and cello, with a harpsichord or other chordal instrument to fill out the harmony. Although some composers tended to compromise in matters of form, trio sonatas were more often than not either in the form of the Sonata da chiesa, or Church Sonata, with a sequence of four movements, slow, fast, slow, fast, the quicker movements fugal in character, or in the form of the Sonata da camera, or Chamber Sonata, rather resembling a suite of dance movements. ---guitarsalon.com

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Suite bergamasque, for piano, L. 75

1)Prélude - Claude Debussy - 4:02
2) Menuet - Claude Debussy - 4:13
3)Clair de lune - Claude Debussy - 4:18
4)Passepied - Claude Debussy - 3:27

Dolly, suite for piano, 4 hands or orchestra, Op. 56

5)Berceuse - Gabriel Fauré - 2:16
6)Mi-a-ou - Gabriel Fauré - 1:51
7)Le Jardin de Dolly - Gabriel Fauré - 2:39
8)Kitty Valse - Gabriel Fauré -2:30
9)Tendresse - Gabriel Fauré - 2:22
10) Le Pas espanol - Gabriel Fauré - 2:19

Petite suite (4), for piano, 4 hands (or orchestra), L. 65

11) En Bateau - Claude Debussy - 3:09
12) Cortège - Claude Debussy - 3:15
13) Menuet - Claude Debussy - 3:36
14) Ballet - Claude Debussy - 3:16
15) Rondo for 2 pianos (or solo piano) in C major, Op. 73, CT. 196 Frédéric Chopin - 9:37

Ensemble:  Amsterdam Guitar Trio

A casual look at the programme might reasonably raise the reader's expectation of a recording of one- and two-piano music, but it would be a misguided one—six, not four, hands are involved, and if there was a piano in the studio at the time it remained silent; the hands are those of three guitarists. There is, however, nothing new in the arrangement of judiciously chosen piano music for one or more guitars, indeed such arrangements helped to see the music of Granados and Atbéniz through lean years, and it is a decade since Julian Bream and John Williams recorded their duo arrangement of the Dolly suite (also for RCA). It might be objected that, though both the piano and the guitar are percussive instruments, the sonorities are radically changed, but they are no less so when harpsichord music emerges from a piano. Have not, too, composers orchestrated some of their piano works—and even guitar pieces (start with Falla and Rodrigo), and who has complained about Busser's orchestration of Debussy's Petite Suite?

The guitar is capable of a far greater variety of tone-colour than any piano, so that these present arrangements are in effect orchestrations. There can be problems of co-ordination, not least with percussive instruments, when the work of one player is subdivided amongst more, but in this case they do not arise: the Amsterdam Guitar Trio have had the same personnel since their formation in 1978, and their members were fellow-students. They possess both technique and musicality in abundance and their ensemble has a unanimity of which any chamber ensemble, of whatever composition, might be proud. An advertising slogan once ran: "I've never tried Guinness—1 don't like it"; don't reject this recording without allowing yourself to enjoy this music in its new and alluring dress. No lingering objection could concern the recording per se, for it is superb. -- John Duarte, Gramophone [7/1989]

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01. Castello : Sonata ottava in D minor    [0:04:42.01]
02. Stradella : Sinfonia in D minor    [0:07:30.96]
03. Marini : Sonata a due in D minor    [0:03:58.85]
04. Locatelli : Sonata da camera, Op.6, No.2 in F major : Andante    [0:05:36.01]
05. Allegro    [0:04:46.33]
06. Aria    [0:06:12.62]
07. Corelli : Sonata in C major, Op.5, No.3 : Adagio    [0:02:17.44]
08. Allegro    [0:01:44.53]
09. Adagio    [0:02:50.10]
10. Allegro    [0:00:55.61]
11. Allegro    [0:02:19.32]
12. Tartini : Sonata Pastorale in A major : Grave    [0:03:19.08]
13. Allegro    [0:02:36.98]
14. Largo    [0:03:18.28]
15. Handel : Sonata in G minor, HWV 364a : Larghetto    [0:01:23.90]
16. Allegro    [0:01:34.30]
17. Adagio    [0:00:44.76]
18. Allegro    [0:01:53.26]
19. Veracini : Sonata in D minor, Op.2 No.12 : Passagallo (Largo)    [0:03:25.40]
20. Capriccio Cromatico (Allegro ma non presto)    [0:02:53.17]
21. Adagio - Ciaccona (Allegro, ma non presto    [0:06:46.56]

Trio Settecento:
Rachel Barton Pine (Violin), 
John Mark Rozendaal (Cello), 
David Schrader (Harpsichord)

Trio Settecento, a Baroque chamber ensemble featuring violinist Rachel Barton Pine along with continuo provided by cellist John Mark Rosendaal and harpsichordist David Schrader, was founded to record Barton Pine's first Çedille disc, a collection of Handel's rarely recorded violin sonatas. Although the album was a success, and so was Barton Pine, Trio Settecento went into the workshop as a group and did not emerge again on record until Çedille's An Italian Sojourn, made more than a decade after the Handel effort. It was well worth the wait, as Barton Pine's grasp of Baroque violin has deepened since Handel, and in 2002 she began playing Baroque chamber music on a 1770 Gagliano, which she states "has had a remarkable effect on my capability to be faithful to the early composers' intents and to bring their music most fully to life." The long period of working together outside the glare of public scrutiny and away from the microphone has unified Rosendaal, Schrader, and Barton Pine's ensemble playing into a seamless blend.

Handel makes a return appearance here in the form of his Sonata in G minor, HWV 364a, a selection featured on the earlier album. Nevertheless, this is a new recording, and it is fleeter in tempo and more assured in delivery than the earlier one from 1996. Among the main attractions here are the Marini and Veracini sonatas with their high level of chromaticism and cornucopia of bizarre effects, and the Locatelli Sonata da Camera in F, Op. 6/2, is notable through its heightened sense of rhythmic involvement, which at times almost sounds "jazzy" in Trio Settecento's hands. All of the pieces in this varied program are rewarding, however, and one thing's for sure -- Trio Settecento isn't Musica Antiqua Köln, Romanesca, or the Purcell Quartet; it has a warmth, style, and individual nature all its own. Çedille's An Italian Sojourn is a highly enjoyable collection that should well please any fancier of Italian Baroque trio sonatas, and it is beautifully recorded and generously annotated to boot. ---Uncle Dave Lewis, Rovi

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Prokofiev -  Quintet for oboe, clarinet, violin, viola & double bass in G minor, Op. 39
1. Tema (Moderato). Variation 1 & 2 	5:10
2. Andante energico 	2:47
3. Allegro sostenuto, ma con brio 	2:12
4. Adagio pesante 	3:08
5. Allegro precipitato, ma non troppo presto 	2:38
6. Andantino 		4:34

7. Liszt - Concerto pathétique (I & II), for 2 pianos, S. 258 (LW C18) 	18:32

Bartok - Contrasts, pieces (3) for clarinet, violin & piano, Sz. 111, BB 116
8. I. Verbunkos (Recruiting Dance)	5:07
9. II. Piheno (Relaxation)		4:31
10. III. Sebes (Fast Dance) 		7:02

Martha Argerich – piano
Michael Collins – clarinet
Richard Woodhams – oboe
Chantal Juillet – violin
Isabelle van Keulen – viola
Nelson Freire – piano

The presence of Martha Argerich is the selling point on this rather haphazard collection of live recordings from the 1998 Saratoga Festival in California; she plays in both the two-piano Concerto Pathétique (with Nelson Freiere) and Bartók's work for clarinet, violin and piano (with Michael Collins and Chantal Juillet). As one would expect from performers of this calibre, the music-making is consistently high class. Argerich and Freiere have great fun with the self-conscious grandeur of the Liszt; Contrasts is full of pungent textures and sharp rhythmic bite. The Prokofiev Quintet for oboe, clarinet, violin, viola and double bass is an eccentric rarity, which began life in 1924 as the music for a ballet, when the composer was trying strenuously to maintain his modernist credentials in Paris. ---theguardian.com

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Beethoven – Piano Quintet Es-Dur, op.16 (1796)
1. I. Grave - Allegro ma non troppo
2. II. Andante cantabile
3. III. Rondo: Allegro ma non troppo

Rimsky-Korsakov - Piano Quintet B-Dur, op.posth (1876)
4. I. Allegro con brio
5. II. Andante
6. III. Rondo: Allegretto

Mikhail Pletnev & London Winds:
Mikhail Pletnev – piano
Gareth Hulse – oboe (1 – 3)
Philippa Davies – flute (4 – 6)
Michael Collins – clarinet
Robin O'Neill – bassoon
Richard Watkins – horn

“Cherrish Woods” Festival
Moscow,  19.05.2002

Written in the mid-1790s, when Beethoven still toiled in the shadow of Mozart and Haydn, the Quintet for Piano and Winds shows the strong influence of the two elder composers, as do the six string quartets of Op. 18 he was composing at about the same time. Yet Beethoven was already beginning to assert his own personality here through the occasional violent contrast in dynamics. The writing for winds strongly recalls Mozart's woodwind serenades, but the sometimes rumbling and ever forceful piano style anticipates Beethoven's later keyboard works. And unlike Mozart, Beethoven sets the piano in opposition to the block of woodwinds. He also made an alternate quartet version with the same opus number, replacing the winds with violin, viola, and cello.

The first movement begins with a placid introduction, marked Grave; it's like a distant hunting call for winds answered lyrically by the piano, then approaching nearer (and louder). The piano takes charge as the movement's main matter, Allegro ma non troppo, gets underway. It starts with a charming, antique tune immediately repeated by the winds and then used as the basis for rapid, keyboard-roaming passagework on the piano. There's a rustic dance-like melody, and eventually the keyboard introduces a third, more placid but rhythmically decisive theme, soon shouted out by the winds. Beethoven puts these themes through the standard sonata-form development, but when it's time for the recapitulation, the jokester Beethoven brings back the themes in the "wrong" key, according to the classical formula.

The second movement, Andante cantabile, balances lyricism with counterpoint. It's a rondo, with the serene main theme increasingly ornate in its second and third appearances. The first contrasting episode is a dialogue between oboe and bassoon, answered by canonic figures in the other winds. The second contrasting episode features a minor-key horn solo. The final return of the main theme, however florid it becomes, ends with quiet scale passages in contrary motion.

The finale, Allegro ma non troppo, is also a rondo, but one that develops the primary thematic material -- another hunting tune, gently called out first by the piano -- almost as fully as in a sonata-allegro format. The first contrasting episode is all arpeggios, first in the piano and then in the winds, elements that will return through the rest of the movement. Indeed, the work ends in a string of joyful, rustic arpeggios and hunting calls. --- James Reel, Rovi

Nikolai Rimsky-Korsakov's Quintet for piano, flute, clarinet, horn and bassoon was written in 1876 for a chamber music competition. It was not a successful entry, losing out to a composition by Czech composer Eduard Napravník. The Quintet has three movements; the first, Allegro con brio, is "in the classical style of Beethoven" according to the composer. Conversely, its style is very different from every other work of Rimsky-Korsakov. The second, Andante, in contrast, is the direct product of Rimky-Kortsakov's "Russianness." It opens with a horn melody accompanied with piano chords. Together, the winds create an atmosphere tinged with melancholy, while the piano accompanies for most of the time. The third, Rondo, Allegretto vivace, begins as a dance tune that gradually becomes more serious until the rhythm stops altogether. After an complicated section for solo piano, the dance rhythm of the beginning is reintroduced for the closing pages. ---Rovi

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#1 Schubert, Piano Trio No.1 in B flat major(B dur), D. 898  (00:00:00)
#2 Schumann, Piano Trio No.1 in d minor(d moll), Op. 63      (00:38:32)
#3 Brahms, Piano Trio No.3 in c minor(c moll),Op.101         (01:10:35)
#4 Schubert, Piano Trio No.3 in E flat major(Es dur), D. 929   (01:32:00)
#5 Brahms,Piano Trio No.1 in B major(H dur), Op. 8           (02:15:59)
#6 Brahms,Piano Trio No.2 in C major(C dur), Op. 87 	     (02:49:00)

Arthur Rubinstein – piano
Henryk Szeryng - violin
Pierre Fournier – cello

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1 	Dietrich Buxtehude – 	Sonata G-Dur BuxWV 271 	7:21 
  	Sonata B-Dur BuxWV 273
2 	Dietrich Buxtehude – 	(Sonata:) Ciaccona - Adagio - Allegro / Adagio / Allegro 	7:41 	
3 	Dietrich Buxtehude – 	Allemande 	2:02 	
4 	Dietrich Buxtehude – 	Courante 	1:47 	
5 	Dietrich Buxtehude – 	Sarabande 	1:43 	
6 	Dietrich Buxtehude – 	Gigue 	1:16 	
  	-
7 	Dietrich Buxtehude – 	Sonata C-Dur BuxWV 266 	8:04 
  	Partie (Suite) G-Dur
8 	Johann Pachelbel – 	Sonatina 	1:01 	
9 	Johann Pachelbel – 	Allemande 	2:46 	
10 	Johann Pachelbel – 	Gavotte 	0:50 	
11 	Johann Pachelbel – 	Courante 	0:56 	
12 	Johann Pachelbel – 	Aria 	0:38 	
13 	Johann Pachelbel – 	Sarabande 	1:37 	
14 	Johann Pachelbel – 	Gigue 	1:29 	
15 	Johann Pachelbel – 	Finale. Adagio 	0:42 	
  	Partie (Suite) E-Moll
16 	Johann Pachelbel – 	Sonata. Adagio - Aria 	4:17 	
17 	Johann Pachelbel – 	Courante 	1:03 	
18 	Johann Pachelbel – 	Aria 	0:51 	
19 	Johann Pachelbel – 	Ciaccona 	2:03 	
  	-
20 	Johann Pachelbel – 	Aria Con Variazioni A-Dur	10:00 	
  	Canon & Gigue D-Dur
21 	Johann Pachelbel – 	Canon 	3:07 	
22 	Johann Pachelbel – 	Gigue 	1:28 	

Henk Bouman – harpsichord (tracks: 1 to 7, 16 to 22)
Jaap Ter Linden – baroque cello (tracks: 8 to 19, 21, 22)
Henk Bouman – organ (tracks: 8 to 15)
Konrad Junghänel – theorbo (tracks: 8 to 15)
Musica Antiqua Köln
Reinhard Goebel – conductor

A marvelous treatment of Pachelbel's lesser known works with a definitive performance of the all-too famous Canon. Too many interpreters of the Canon use the wrong tempo for this work, too slow and sentimental. This group does not and they have made it possible to listen to this work without gagging. They also do a wonderful job of presenting Buxtehude's chamber music. This composer is too often associated with ponderous Baroque organ music. This has been rectified in recent years by Musica Antigua Koln and the numerous other fine Baroque chamber groups and orchestras which have developed in the past twenty years( Freiburger Barock, Akadamie fur Alte Musik, Philharmonia Baroque, Boston Baroque Portland Baroque, Seattle Baroque, Venice Baroque, Il Giardino Armonico,Jordi Savall....the list goes on and on). Sad to say, Musica Antigua Koln is no more. They disbanded the ensemble a few years ago. If you can get your hands on any of their recordings, you should do so. There will be no more. --- J. Gabrielson, amazon.com

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Marcel Tournier
Suite, Op. 34
1.   		I. Soir 00:03:26
2.   		II. Danse 00:02:01
3.   		III. Lied 00:03:22
4.   		IV. Fete 00:04:48
Florent  Schmitt
Suite en rocaille, Op. 84
5.   		I. Sans hate 00:03:40
6.   		II. Anime 00:03:49
7.   		III. Sans lenteur 00:03:38
8.   		IV. Vif 00:02:31
Gabriel Pierné
Variations libres et final, Op. 51
9.   		Variations libres et final, Op. 51 00:10:52
Jean Françaix
Quintet for Flute, Harp and String Trio
10.   		I. Andante tranquillo 00:02:27
11.   		II. Scherzo 00:02:30
12.   		III. Andante 00:02:40
13.   		IV. Rondo 00:01:30
Albert  Roussel
Serenade, Op. 30
14.   		I. Allegro 00:04:32
15.   		II. Andante 00:06:55
16.   		III. Presto 00:04:26

Mirage Quintet:
Robert Aitken - flute
Erica Goodman - harp
Jacques Israelievitch - violin
Teng Li - viola
Winona Zelenka - cello

The five composers on this disc share the clarity and refinement, brio and wit, and subtle sensuality that permeate French music in the early years of the twentieth century. Each found in literature, the visual arts and the music of Debussy and Ravel touchstones for their own compositions, while expressing their individual personalities. Refinement and pellucid textures characterise Tournier’s Suite; vigour, elegance and passion Schmitt’s. Françaix’s Quintet, much-loved for its charm and delicacy, matches Roussel’s neo-classical Serenade and complements Pierné’s virtuosic and translucently scored Variations. --- naxos.com

Here are five late-19th- and early-20th-century French composers gathered together to illustrate what the booklet-note so rightly calls an “emancipation from Germanic cultural values”. Sharply individual, all five none the less show a “clarity and refinement, brio and wit, and subtle sensuality” that are inimitably Gallic.

They also pay unmistakable tribute to Debussy and Ravel. The influence of Prélude à L’après-midi d’une faune hangs heavily over Tournier’s Suite, most notably in the opening Soir: Calme et expressif. There is an exotic twist to the Lied: Assez lent, avec mélancolie reflecting Debussy’s fascination with the East but it says much for Tournier that he maintains his own voice and character. Florent Schmitt, who studied with Fauré, also shows a fleeting love of the Orient before continuing with a gracefully flowing Minuet and whirlwind finale. Pierné (whose Variations for solo piano were greatly admired by Cortot) sounds a more substantial note with much restrained but demanding virtuosity in his finale, while Françaix closes his characteristically piquant Quintet with a Rondo based on the folksong “Savez-vous planter les choux?” and a touch of outrageousness.

Finally Roussel and a more astringent modernist style, including a flourish from the harp like a sudden cascade of stardust in the central Andante and some ghostly glissandi behind the final Presto’s hyperactivity. All this alternately thoughtful and exuberant music is played with great care and authority by the Mirage Quintet who never mistake a term such as animé for fast. Brilliantly alive to their challenge, they have been well recorded. --- Bryce Morrison, gramophone.co.uk

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Ernest Chausson's Concert for Violin, Piano and String Quartet in D
1. I. Décidé (14.19)
2. II. Sicilienne (4.27)
3. III. Grave (10.14)
4. IV. Très animé (10.53)

César Franck's Sonata for Violin and Piano in A
5. I. Allegretto ben moderato (6.35)
6. II. Allegro (8.41)
7. III. Recitativo-fantasia. Ben moderato (7.33)
8. IV. Allegro poco mosso (6.41)

Pierre Amoyal (violin) 
Pascal Rogé (piano
Ysaÿe Quartet

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1. Nikolai Rimsky-Korsakov - The Tale of Tsar Saltan: Flight of the Bumble - bee 00:01:18
Felix Mendelssohn - Song without Words
2. I 00:01:45
3. II 00:01:50
4. III 00:01:58
5. Wolfgang Amadeus Mozart - Romance 00:05:30
6. Ludwig van Beethoven - Septet Op. 20: Menuetto 00:03:25
7. Isaac Albéniz - Chant d'amour 00:02:59
8. Robert Schumann - Kinderszenen (Scenes of childhood), Op. 15: VII. Traumerei (Dreaming) 02:28
9. Johann Strauss and Joseph Strauss - Pizzicato Polka 00:02:13
10. Antonín Dvořák -  8 Humoresques, Op. 101, B. 187: No. 7. Poco lento e grazioso in G - Flat Major (arr. for clarinet quintet) 00:02:51
11. Leó Weiner -  Fox's Dance 00:01:43
12. Claude Debussy - Le petit negre 00:01:36
13. Zoltán Kodály - Epigrams 00:04:43
14. Scott Joplin - The Easy Winners 00:03:32
15. Maurice Rave - Pavane 00:05:46
16. Isaac Albéniz - Tango 00:02:43
17. Scott Joplin - Rose Leaf Rag 00:03:59
18. Carlos Antonia Jobim - The Girl from Ipanema 00:02:39
19. Erroll Garner - Misty 00:02:55
20. Vittorio Monti - Csardas 00:04:23

Budapest Clarinet Quintet
Pál Sólyomi (Clarinet), 
Zsolt Szatmári (Clarinet), 
Béla Kovács (Clarinet),
Akos Acs (Clarinet), 
László Kraszna (Clarinet), 
Béla Kovács Jr. (Percussion).

I bought this CD on a whim for the music and the low price, and it was a great and pleasant surprise. It is one of my favorite CDs. The clarinet playing is superb and the ensemble exquisite.

The music is borrowed from many sources and is varied and appealing. Anyone who enjoys clarinet music, fine ensemble playing or light classics will not go wrong with this selection.

I have played part or all for many varied music friends and it always brings a smile. A bonus for those who play in clarinet quartets/quintets/ensembles, many of the arrangements are available. I am a long time clarinet player and can be very critical or blase', but this music is just right. My only complaint is that I would like to hear more from the ensemble... ---Ann Satterfield, amazon.com

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