a discography of beethoven's chamber music- everything but the string quartets

A Discography of Beethoven's Chamber Music- Everything but the String QuartetsAuthor(s): Elizabeth FlemingSource: Notes, Second Series, Vol. 59, No. 3 (Mar., 2003), pp. 716-725Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/901074 .

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SOUND RECORDING REVIEWS EDITED BY RICK ANDERSON

O

For information about the scope of this column, please see the headnote in the September 2002 issue (p. 136 of this volume).

A DISCOGRAPHY OF BEETHOVEN'S CHAMBER MUSIC- EVERYTHING BUT THE STRING QUARTETS

BY ELIZABETH FLEMING

Ludwig van Beethoven is such a universally revered composer that

recordings of his works form a significant part of most classical recording collections. While many discographies of Beethoven's music have high- lighted the numerous excellent recordings of his symphonies, piano sonatas, and string quartets, it is rare to find essays devoted to recordings of his chamber music for instrumental combinations other than the string quartet. This essay will provide a discography of currently available recordings of Beethoven's chamber music and endeavor to cover all instrumental chamber works except the string quartets.' Works are pre- sented according to frequency of recording, beginning with the compositions most often recorded and ending with those that are recorded less often, followed by an overview of recordings that feature an assortment of Beethoven's chamber works. Thus, titles appear in the essay and the discography in this order: Piano Trios, Quintet for Piano and Wind Instruments, Septet, String Trios, Cello Sonatas, Violin Sonatas, Horn Sonata, Collections.

The term "chamber music" needs clarification in this context, particularly since it is often used ambiguously as an umbrella term that may be applied to any composition that does not fit well into such other stan- dard classifications as symphony or concerto. For instance, Barnes and Noble stores include recordings of songs and lieder along with piano sonatas and other works for solo piano in their chamber music sections; this is true in both their brick-and-mortar and their online stores. Amazon.com organizes its online catalog in a similar manner. In this arti-

Elizabeth Fleming is the p imary subject analyst for the Beethoven Bibliography Database, an ongoing project of the Ira F. Brilliant (enter for Beethoven Studies at SanJose State University.

1. While I have attempted to provide complete coverage of currently available recordings, some have undoubtedly been missed; nevertheless, it is my hope that this essay will offer a reasonably thorough overview.

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Sound Recording Reviews

cle, however, the term will refer to works for combinations of two or more instruments, and not to piano sonatas, other compositions for solo

piano, or lieder collections.

PIANO TRIOS

Perhaps the most frequently recorded of Beethoven's instrumental chamber works that fall into the categories under discussion here are the

piano trios. There are nine works of this type with opus numbers, beginning with the three trios of opus 1, written early in his career during the 1790s, continuing through opus 97, which was written between 1810 and 1811. Five other works with either Hess or WoO numbers are also among Beethoven's piano trio compositions.2 Several cycles of the complete piano trios are available, the most impressive being a 1992 recording by the Beaux Arts Trio on the Phillips label (reissued at midprice in 2001 as 289 468 411-2). Another notable cycle is the 1989 remastering of the recordings by Daniel Barenboim, Pinchas Zukerman, and Jacqueline du Pre (EMI Classics 63124). While the Beaux Arts Trio's interpretation is all dignified refinement, the Barenboim/Zukerman/du Pre combination exudes a more intense, emotional expressiveness.

Recordings of Beethoven's piano trios are also readily available in period- instrument performances. The most appealing historically-informed performances of these works are those by the Castle Trio. There are three compact discs by this group issued separately by three different record companies that include the entire set of piano trios.3 These recordings all exemplify the best characteristics of sensitive historical performance.

The two most frequently recorded of Beethoven's piano trios, op. 70, no. 1, commonly referred to as the "Ghost" Trio, and op. 97, the "Arch- duke" Trio, are often paired together in recordings that do not include the whole cycle of piano trios. The best pairing of these two works is also recorded on historical instruments, a 2000 Sony Classical release featur- ing Vera Beths, Anner Bylsma, and Jos van Immerseel (Sony 51353). Recording original instruments is often difficult because of the unique acoustical challenges such instruments can pose, but the recording techniques used for this recording are masterfully executed, as are the performances.

2. Beethoven's piano trios with opus numbers are opus 1 (three works), optis 44, optis 63, opus 70 (two works), opus 97, and opus 121a. WoO 38, WoO 39, Hess 48, Hess 49, and Hess 50 are also piano trios.

3. Piano Trios Opp. 1 & 11, Castle Trio, EMI Classics 61931 [20011, which includes WoO 38; Piano Trios, Castle Trio, Virgin Classics 7-91442-2 [1991], op. 97, op. 121a, and WoO 39; and Piano Trios, Castle Trio, Smithsonian 036 [1988], op. 70, nos. 1-2.

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NOTES, March 2003

QUINTET FOR PIANO AND WIND INSTRUMENTS

One of Beethoven's compositions is commonly paired on recordings with a similar work of Wolfgang Amadeus Mozart: this is Beethoven's opus 16, the Quintet for Piano and Wind Instruments, the second most frequently recorded of Beethoven's chamber works which seems almost invariably to be paired with Mozart's Quintet K. 452. Recording these two works together makes historical as well as musical sense. Beethoven's quintet was written in 1796 and was inspired by a trip he took to Prague, Dresden, and Berlin. Near the end of his journey, in Berlin, he heard a group of Czech musicians play Mozart's quintet. Beethoven's work was clearly deeply influenced by that composition; however, Beethoven takes a more symphonic approach to using the five instruments than Mozart did. While Mozart treated the five instruments as individual "characters" in an opera, maintaining individuality of each instrument within the tex- ture, Beethoven combined the five instruments in various groupings to explore differing sonorities. Beethoven's originality and inventive spirit shine in the work, so one may regard K. 452 more as a catalyst for creativ- ity than a direct model for imitation. Nevertheless, the two works make both a logical and an enjoyable pairing. The best recording among those cited in the discography is a 1994 Erato recording of Daniel Barenboim with two members of the Chicago Symphony Orchestra and two members of the Berlin Philharmonic (Erato 4509-96359-2). The ensemble playing in this recording is exquisite, particularly considering that the individual artists had not played together on a regular basis. There is one period- instrument recording by Robert Levin and the Academy of Ancient Music, released on Decca in 1999 (Decca 289 455 994-2). This recording suffers from ensemble and intonation difficulties that result in an un- comfortable listening experience. The performance by Barenboim and the Chicago/Berlin contingent so far surpasses the original-instrument rendition that if only one recording of this work were in the budget, the Barenboim recording would be by far the best choice.

SEYI'EI'

Opus 20, the Septet for Violin, Viola, Clarinet, Horn, Bassoon, Cello, and Bass, was written in late 1799 and early 1800. During Beethoven's lifetime, this was the composer's most popular, most commonly performed, and most frequently arranged work. The appealing combination of string and wind instruments and the symphonic nature of the composition contributed to its immense popularity. Today it remains quite popular, but occupies a somewhat less exalted place within the general body of Beethoven's compositions. Of the available recordings, the 1992 re-

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lease on Hyperion of the Gaudier Ensemble (CDA 66513) offers the best ensemble playing. The Sextet op. 71 for two clarinets, two horns, and two bassoons is recorded on this same disc. Both performances are ad- mirable, but that of the Septet is exceptional. The Academy of St. Martin-in-the-Fields' interpretation of the Septet on a Chandos recording released in 1999 (CHAN 9718) is highly polished and also well worth acquiring.

STRING TRIOS

Beethoven wrote five opus-numbered string trios: op. 3, op. 8, and the set of three works published as op. 9. Like the piano trios, recordings of the string trios are available as a complete set. A 1997 reissue of the Grumiaux Trio's 1967-68 recordings of the complete string trios on Philips (289 456 317-2) is the most impressive of these. The performance by Anne-Sophie Mutter, Bruno Giuranna, and Mstislav Rostropovich released on Deutsche Grammophon in the same year (289 453 757-2) is less

convincing, primarily because Mutter and Rostropovich play more like soloists vying for the spotlight than as members of an ensemble working toward a cohesive sound. The Grumiaux Trio recordings are far more ensemble-conscious and much more enjoyable.

The three trios in the op. 9 set are often recorded as a distinct pro- gram. Two recordings of the op. 9 trios are particularly noteworthy. The Leopold Trio's 1999 recording for Hyperion (CDA67254) is one such: this recording is even more ensemble-focused than the Grumiaux Trio's. Recorded early in this young ensemble's career, it finds the Leopold Trio admirably expressive and full of promise. A period-instrument recording of these trios by Vera Beths, Anner Bylsma, and Jurgen Kussmaul released by Sony Classical in 1992 (48190) is also quite satisfying.

CELLO SONATAS

Jacqueline du Pr6 and Daniel Barenboim are featured on a complete recording of the sonatas and variations for cello and piano reissued by EMI Classics in 1999 (7243 5 73332 2 1). Most of these performances date from 1974 and the quality of EMI's remastering is exceptional. Beethoven wrote six sonatas for violoncello and piano and, like the piano trios, the six cello sonatas provide a fine overview of his composi- tional development. The two works from opus 5 were written in 1796 for Pierre Duport, the first cellist in the Prussian Orchestra in Berlin. The two op. 102 sonatas were written in 1815 for Joseph Linke, a Viennese musician whom Beethoven knew and held in high regard. One can clearly hear Beethoven's evolution as a composer by listening to these

719



NOTES, March 2003

works in sequence. By far the best recording of these works is that by du Pr6 and Barenboim, but the 1982 CBS Masterworks recording of the op. 5 sonatas by Yo-Yo Ma and Emanuel Ax (MK 37251) is also beauti- fully recorded and performed.

VIOLIN SONATAS

Beethoven wrote ten sonatas for violin and piano. These works were composed during a relatively brief period of Beethoven's life, and thus provide less insight into Beethoven's evolution as a composer. Three were written in 1797-98 and published as opus 12. The next two, opus 23 and opus 24, both written mostly during 1800, were published individ- ually. Opus 30, written in 1802, includes three more sonatas published in a group. Opus 47, the "Kreutzer" Sonata, was written in 1802-3. The final violin sonata, opus 96, is the only work of this type not written during this period; it was composed in 1812, the same year as the symphonies nos. 7 and 8. While Anne-Sophie Mutter's recording of the string trios was marred by ensemble difficulties, the absolute winner among the recordings of the entire cycle of violin sonata recordings is a 1998 Deutsche Grammophon recording of Mutter with pianist Lambert Orkis (289 457 619-2). The two work as one in this set of recordings and their sense of ensemble is impeccable. Another excellent recording of the entire cycle is the London Classics release by Itzhak Perlman and Vladimir Ashkenazy (289 421 453-2). The interpretations represented on these two recordings are vastly different and each provides an eminently satisfying listening experience. Jaap Schroder and Jos van Immerseel recorded the "Spring" and "Kreutzer" sonatas on period instruments for Deutsche Harmonia Mundi in 1995 (05472-77413-2). Of the period- instrument recordings of the violin sonatas currently available, this interpretation is the most successful.

HORN SONATA

In April 1800, Beethoven came in contact with the most famous horn player of his time, Giovanni Punto. Punto was born Johann Wenzel Stich and was working in Vienna when he and Beethoven met. Beethoven heard him perform and was inspired to write opus 7 for him, which was then published in March 1801. Of the several available recordings of this work, the remastered recording by Dennis Brain and Denis Matthews on either Testament (1022) or Pearl (26) reigns supreme. The Pearl remastering offers better sound, but both appear to be recordings of the same performance.

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COLLECTIONS

The horn sonata, like many of the works mentioned above, appears in several of the recordings classified under "collections" in the discography that accompanies this article. Some of these collections offer Beethoven's complete works in a particular category: for instance, there are several collections of the complete chamber works for winds and for brass, and a few focus on the chamber music for a particular instrument, such as the flute. In each instance the works included in such a collection are listed in the discography by opus, WoO, or Hess number. Many of these recordings feature too many performers to mention individu- ally. Where appropriate the corporate name for the ensemble is used; otherwise only one or two names for the performers are mentioned and "et al." indicates that several others are also responsible for the performances on that particular disc. Among these recordings, one in particular stands out: Complete Music for Winds and Brass, recorded in two vol- umes by Ottetto Italiano and members of the Orchestra da Camera di Genova in 1999 and 2000 for ARTS Records (47550-2 and 47551-2, re- spectively). This collection offers performances of exceptional brilliance. Volume 1 includes a superb performance of the three duos for clarinet and bassoon WoO 27 that should not be missed. Some period- instrument collections are available as well, and the 1988 release on Meridian Records entitled Chamber Music with Fortepiano on Period Instruments (CDE 84145) is the most satisfying of them.

CONCLUSION

Ludwig van Beethoven wrote many chamber music compositions for instrumental combinations other than the string quartet that are just as remarkable and interesting as the more frequently recorded symphonies, piano sonatas, and string quartets. It is hoped that this discography of readily available compact discs will help highlight these works and provide the catalyst for further listening.

721



NOTES, March 2003

SELECTED DISCOGRAPHY

Recordings are listed by release date within each section of the discography; for historical recordings, the date of original recording is treated as the release date. All recordings are currently available on compact disc.

*Indicates an essential selection tIndicates a recording on period instruments

Piano Trios

Piano Trio Op. 97; Piano Trio Op. 11. Pablo Casals, Eugene Istomin, Alexander Schneider. Sony Classical SK 58990, rec. 1951, rel. 1994.

Schubert: Piano Trio No. 1; Beethoven: Piano Trio No. 2. Pablo Casals, Eugene Istomin, Alexander Schneider. Sony Classical SK 58959, rec. 1951, rel. 1994.

*Trio Recordings, Volume 2: The Complete Beethoven Trios. Eugene Istomin, Leonard Rose, Isaac Stern. Sony Classical SK 46738, rec. ca. 1951-53, rel. 1991.

Schubert: Piano Trio No. 2; Beethoven: Piano Trio No. 1. Pablo Casals, Joseph Fuchs, Alexander Schneider. Sony Classical SK 58988, rec. 1952, rel. 1994.

Piano Trio Op. 70 No. 1; Trio Op. 70, No. 2; Variations on a Theme from Handel's 'Judas Maccabeus. " Pablo Casals, Joseph Fuchs, Eugene Istomin, Alexander Schneider, Rudolph Serkin. Sony Classical SK 58991, rec. 1953, rel. 1994.

Piano Trio Op. 70, No. 1 "Ghost"' Piano Trio Op. 97 "Archduke." Eugene Istomin, Leonard Rose, Isaac Stern. Sony Classi- cal SK 53514, rec. 1966-70, 1994.

Piano Trios. London Fortepiano Trio. Hyperion CDA 66197, 1985.

Klaviertrios. Haydn-Trio, Wien. Teldec 8.43156, 1986 and Teldec 8.43197, 1987.

tPiano Trios. Op. 70, Nos. 1-2. Castle Trio. Smithsonian 036, 1988.

*Piano Trios. Daniel Barenboim, Pinchas Zukerman, Jacqueline du Pr6. Angel 63124, 1989.

"Archduke" Trio: Trio No. 7 in B-flat Major; Allegretto, WoO 39. Itzhak Perlman, Vladimir Ashkenazy, Lynn Harrell. EMI Classics CDC 47010, 1990.

tPiano Trios. Op. 97, Op. 121a, WoO 39. Castle Trio. Virgin Classics CDC-59044, 1991.

Trio in G No. 11, Op. 121a; Quintet, Op. 16. Alain Meunier, Richard Stoltzman, Rudolf Serkin, Rudolph Vresky, Robert Routch, Alexander Heller. Sony Classi- cal 47296, 1991.

*Piano Trios. Beaux Arts Trio. Philips 289 432 381-2, 1992.

Piano Trios. Fontenay Trio. Teldec 9031- 73281-2, 1994.

Piano Trios No. 5 "Ghost" & No. 7 "Arch- duke." Borodin Trio. Chandos CHAN 9296, 1994.

Piano Trios Op. 70, No. 1 and Op. 97. Jeno Jando, Takako Mishizaki, Csaba Onczay. Naxos 8.550442, 1994.

Piano Trios. Beethoven Trio Wien. Camerata 32CM 253, 1995.

Piano Trios, Op. 1; Piano Trio, WoO 38; 14 Variations, Op. 44. Eugene Istomin, Leonard Rose, Isaac Stern. Sony Classi- cal SK 64510, rec. between 1966 and 1970, rel. 1995.

Piano Trios. Wilhelm Kempff, Pierre Fourn- ier, et al. Deutsche Grammophon 289 453 751-2, rec. various dates, rel. 1997.

t*Gassenhauer-trio, Op. 11; Op. 1, No. 3; Op. Posth. No. 154. Patrick Cohen, Christophe Coin, Erich Hobarth. Har- monia Mundi France HMC 7901475, 1998.

Piano Trios Vols. 1-5. Guarneri Trio Prague. Praga Digital 250-120/124, 1998.

Beethoven: "Archduke" Piano Trio; Schubert: Piano Trio in B-flat. Pablo Casals, Alfred Cortot, Jacques Thibaud. EMI Classics 567001, rec. 1928 and 1926, rel. 1999.

tArchduke & Ghost Trios. Vera Beths, Anner Bylsma, Jos van Immerseel. Sony Classi- cal SK 51353, 2000.

Piano Trios Op. 1, Nos. 2 & 3. Vienna Piano Trio. Nimbus NI 5661, 2000.

tPiano Trios Opp. 1 & 11. Includes WoO 38. Castle Trio. Virgin Classics CDC-61931, 2001.

Quintet for Piano and Wind Instruments, Op. 16

[Note: In all cases where the disc title indicates multiple quintets, the other quintet is Mozart's Quintet for Piano & Winds in E-flat Major, K452.]

Mozart: Quintet in E-flat Major/Sinfonia Can- certante; Beethoven: Quintet in E-flat Major.

722




Walter Gieseking, Dennis Brain, Cecil James, Sidney Sutcliffe, Bernard Walton. Testament 1091, rec. 1950, rel. 1996.

Quintets for Piano and Wind Instruments. Anthony Halstead, Thea King, Murray Perahia, Graham Sheen, Neil Black. Sony Classical 42099, 1990.

Piano and Wind Quintets. Andre Previn, Vienna Wind Soloists. Telarc 80114, 1990.

Trio in G No. 11, Op. 121a. Quintet, Op. 16. Alain Meunier, Richard Stoltzman, et al. Sony Classical 47296, 1991.

Quintet, Op. 16. Nash Ensemble. Delos 3024,1992.

* Quintets, Daniel Barenboim, Dale Clevenger, Larry Combs, Daniele Damiano, Hansjorg Schellenberger. Erato 4509-96359-2, 1994.

Quintet in E-flat Op. 16. Includes Op. 20. Matthew Dine, A. Robert Johnson, David Karkauer, Meg Bachman Vas, Jeffrey Marchand, Todd Phillips, Ah Lin Neu, Melissa Meell, Gail Kruvand. New York Philomusica Records 30004, 1999.

fQuintets for Fortepiano & Wind Instruments. Robert Levin, members of the Academy of Ancient Music. Decca 289 455 994-2, 1999.

Piano and Wind Quintets. James Campbell, Anton Kuerti, James Mason, James McKay, James Sommerville. CBC 1137, 2000.

Septet, Op. 20

*Septet in E-flat; Sextet in E-flat. Gaudier Ensemble. Hyperion CDA 66513, 1992.

Septet in E-flat. Op. 81b. Fairfield Orchestra. BMG/Musicmasters 67123, 1995.

Beethoven: Septett; Hindemith: Oktett. Berlin Philharmonic Octet. Nimbus NI 5461, 1996.

Beethoven: Septet & Octet; lMendelssohn: Octet; Schubert: Octet. Melos Ensemble of Lon- don. EMI Classics CZS 569755, 1997.

Quintet in E-flat Op. 16. Includes Op. 20. Matthew Dine, A. Robert Johnson, David Karkauer, Meg Bachman Vas, et al. New York Philomusica Records 30004,1999.

Septet; Quintet in C Major. Academy of St. Martin-in-the-Fields Chamber Ensemble. Chandos CHAN 9718, 1999.

Beethoven: Septet; Mozart: Horn Quintet. Berlin Soloists. Teldec 89080, 2002.

String Trios

Brain, Kell, & Goossens Play Schumann & Beethoven. Includes Op. 11. Dennis Brain, Denis Matthews, Reginald Kell, Gerald Martin Moore, Leon Goossens, and Anthony Pini. Testament 1022, rec. 1940-53, rel. 1994.

tString Trios. Vera Beths, Anner Bylsma, Jurgen Kussmaul, L'Archibudelli. Sony 48190. 1992. (Opus 9, Nos. 1-3).

tString Trio, Op. 3; Serenade, Op. 8. L'Archi- budelli. Sony Classical SK 53961, 1993.

*Complete String Trios. Grumiaux Trio. Philips 2PH2 456 317-2, 1997.

String Trios. Anne-Sophie Mutter, Bruno Giuranna, Mstislav Rostropovich. Deutsche Grammophon 289 453 757-2, 1997.

Serenade in D, Op. 8. Includes Op. 3. Leo- pold Trio. Hyperion CDA 67253, 1999.

Trio Op. 3/Serenade Op. 8. Vienna Phil- harmonia Trio. Camerata 533, 1999.

Trios Op. 9. Leopold Trio. Hyperion CDA 67254,1999.

Cello Sonatas

Sonatas for Cello and Piano. Antonio Janigro, Jorg Demus. Vanguard Classics SVC- 56/57, rec. 1965, rel. 1997.

*Cello Sonatas & Variations. Jacqueline du Pre, Daniel Barenboim. EMI Classics 7243 573332 2 1, rec. 1974, rel. 1999.

*Sonatas Nos. 1 & 2. Yo-Yo Ma, Emanuel Ax. CBS MK 37251, 1982.

tCello Sonatas. Melvyn Tan, Anthony Pleeth. Hyperion CDA 66281, 1988 and CDA 66282,1988.

Impressions: Elgar, Haydn, Beethoven. Jacqueline du Pre, Daniel Barenboim, Pinchas Zukerman. EMI Classics 69707, 1989.

Cello Sonatas. Pierre Fournier, Artur Schnabel. Classica D'Oro 4020, rec. 1947-48, rel. 2002.

Violin Sonatas

Violin Sonatas. Op. 24, 47, and 96. Fritz Kreisler, Franz Rupp. Iron Needle 1425, rec. 1936, rel. 2001.

*Violin Sonatas: "Kreutzer," "Spring". Itzhak Perlman, Vladimir Ashkenazy. London 289 458 618-2, rec. 1973, rel. 1999.

*Violin Sonatas. Itzhak Perlman, Vladimir Ashkenazy. London 289 421 453-2, 1990.

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NOTES, March 2003

tViolin Sonatas: No. 5 "Spring," No. 9 "Kreutzer." Jaap Schr6der, Jos Van Immerseel. Deutsche Harmonia Mundi 05472-77413-2, 1995.

Complete Violin Sonatas. Benjamin Hudson, Mary Verney. Nimbus NI 5557/60, 1998.

*Violin Sonatas. Anne-Sophie Mutter, Lam- bert Orkis. Deutsche Grammophon 289- 457-619-2, 1998.

Horn Sonata, Op. 17

Brain, Kell, & Goossens Play Schumann & Beethoven. Includes Op. 11. Dennis Brain, Denis Matthews, Reginald Kell, Gerald Martin Moore, Leon Goossens, Anthony Pini. Testament 1022, rec. 1940-53, rel. 1994.

Dennis Brain. Dennis Brain, Denis Matthews. Pearl GEM 0026, various rec. dates, rel. 1998.

John Cerminaro, Horn. Zita Carno, John Cerminaro. Crystal 676, 1993.

Music for French Horn. Ingemar Bergfelt, Albert Linder. Bis 47, 1995.

Collections

tBeethoven Wind Music. Op. 103; Op. 71. Classical Winds. Amon Ra CD-SAR 26, 1986.

Musicfor Wind Instruments. Op. 71; Hess 19; WoO 25; Op. 103. Wind Soloists of the Chamber Orchestra of Europe. ASV CD COE 807, 1986.

tChamber Music with Fortepiano on Period Instruments. Op. 1, No. 3; WoO 64; WoO 54; Op. 16. Works by Mozart. Christopher Kite, Catherine Macintosh, Sebastian Comberti, Paul Goodwin, Colin Lawson, Anthony Halstead, Jeremy Ward. Meridian 84145, 1988.

James Galzay Plays Beethoven: Serenade, Op. 25; Flute Sonata; Serenade, Op. 8. James Galway, Joseph Swensen, Paul Neu- bauer, Philip Moll. RCA Victor 7756-2- RC, 1988.

Complete Chamber Music for Flute. WoO 26; WoO 37; Op. 107; Anh. 4. Jean-Pierre Rampal, Robert Veyron-Lacroix, et al. Vox 5000, 1992.

Great Flautists, Volume 2. Op. 25; works of Bach, Gluck, Chopin, Debussy. Marcel Moyse, Marcel Darrieux, Pierre Pasquier, et al. Pearl GEMMCD 9302, various rec. dates, rel. 1992.

Serenades in D Major, Op. 8; Op. 25. Sch6nbrunn Ensemble. Globe 5090, 1992.

Serenade/Trio/Duo. Op. 25, WoO 37, WoO 27/1. Sergio Azzolini, Iona Brown, Levon Chilingirian, Susan Milan, Louise Williams. Chandos CHAN 9108, 1993.

Sextet in E; Quintet in A; Duett mit zzwei obli- gaten Augengldsern. Op. 81b, Nos. 1-3; WoO 32; Op. 47. Knut Hasselmann, Ab Koster, et al. Sony Classical 48076, 1993.

Treasures for Horn and Trumpet. Works by Mozart, Saint-Saens, Hertel, Eccles, Grimm-Freres. Gregory Hustis, William Scharnberg, Milton Phibbs, Richard Giangiulio, David Battey. Dallas Chamber Orchestra, Ronald Neal, cond. Crystal 512, 1993.

tOctet, Op. 103; Rondino, WoO 25; March, Duo, Sextet, Op. 71. Mozzafiato/Charles Neidich. Sony Classical 53367, 1994.

Four of a Kind: Music for Trombone Quartet. Works by Bach, Debussy, Haydn. Joseph Alessi, Blair Bollinger, Scott A. Hart- man, Mark Lawrence. Summit DCD 123,1994.

Posaunenquintette Berlin. Works by Scheidt, Debussy, Speer, Joplin, Khatchaturian. Berlin Trombone Quintet. Koch Schwann 310089, 1994.

Rondo in E-flat WoO 25. Includes Op. 103, WoO 27, WoO 25, WoO 29, Op. 71. Dennis L. Godburn, Charles Neidich, et al. Sony Classical 53267, 1994.

Chamber Music for Winds, Volume 1. Op. 20; WoO 26; WoO 27/1. Classicum Con- sortium. CPO 999 162-2, 1996.

Mozart: Serenade, K.388; Dvordk: Serenade, Op. 44; Beethoven: Octet [Op. 103]. Marl- boro Festival Octet. Sony Classical 62412,1996.

Chamber Music for Winds, Volume 3. Op. 103; Op. 87; WoO 25. Classicum Con- sortium. CPO 999 438-2, 1997.

Chamber Works. WoO 36, WoO 37, Op. 17, Op. 81b, Op. 16, Op. 25, WoO 43, WoO 43/2, WoO 44/1, WoO 44/2, Op. 11, Op. 20, Op. 137, Op. 2, Hess 29, WoO 9, WoO 32, WoO 15, WoO 34, WoO 35, Op. 105, Op. 107, WoO 26. Norbert Brainin, Christoph Eschenbach, et al. Deutsche Grammophon 289 453 772-2, 1997.

Music for Wind Instruments. Op. 17; Op. 71; Op. 103. Peter Damm, Amadeus Weber- sinke, et al. Berlin Classics 9186, 1997.

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Sound Recording Reviews Sound Recording Reviews Sound Recording Reviews

Serenades for Flute, Violin, & Viola. Includes Serenade, Op. 141a? by Max Reger. Martin Lemberg, Peter Wachter, Kazumi Sato. Camerata 30CM 446, 1997.

Wind Music. Op. 103, WoO 25, Op. 87, WoO 28, Op. 71, WoO 30, WoO 29, WoO 18, WoO21, WoO 22, WoO 20, WoO 19, WoO 24. Manfred Klier, Peter Geisler, et al. Deutsche Grammophon 289 453 779-2, 1997.

Beethoven/Triebensee: Oboe Trios. WoO 28, Op. 87. Kathryn Greenbank, Marilyn Zupnik, Elizabeth Starr. ASV CD QS 6192, 1997.

Piano & String Quartets. WoO 36, No. 3; Op. 18, No. 3. Bamberg String Quartet,









unidentified pianist. Point Classics 267010, 1997.

Oktett; Rondino; Septett. Op. 103; WoO 25; Op. 20. Sabine Meyer Blaserensemble. EMI Classics 5-56817-2, 1999.

*Complete Music for Winds and Brass, Vol. 1, Ottetto Italiano, ARTS 47550-2, 1999; Complete Music for Winds and Brass, Vol. 2, Ottetto Italiano, members of the Orchestra da Camera di Genova, ARTS 47551-2, 2000.

Music for Winds. Op. 16; Op. 17; WoO 37. Hexagon Ensemble. Arsis Classics 99072, 2000.









BRIEFLY NOTED

BY RICK ANDERSON

BRIEFLY NOTED

BY RICK ANDERSON

BRIEFLY NOTED

BY RICK ANDERSON

Missa Mexicana. Harp Consort/ Andrew Lawrence-King. Harmonia Mundi HMU 907293, 2002.

In 1622, the Spanish composer Juan Gutierrez de Padilla relocated to the Mexican city of Puebla de los Angeles to as- sume the post of cantor and assistant mae- stro de capilla at the thriving cathedral there. Part of his charge was to teach polyphonic singing to the choirboys, but he was also responsible for creating new music for use in worship services. Padilla's Ego Flos Campi is a parody mass in the established European tradition, much of its thematic material borrowed from a long-lost motet. But the flavor of the music takes at least as much from the New World as from the Old, and is characterized by rhythmic and melodic features that are distinctly Central Ameri- can. Masses are rarely as danceable as this one, and Andrew Lawrence-King and his cohorts are at pains to point up the rela- tionship between Padilla's liturgical compositions and the local vernacular music, al- ternating elements of the Ordinary with lusty dance tunes (all composed by Padilla himself or his contemporaries) and songs, most of which juxtapose decidedly earthy rhythms with at least nominally pious lyrics. These incidental pieces come from a vari- ety of sources and are arranged themati-





cally within the structure of the Mass: a vil- lancico precedes the Kyrie, two correntes pre- cede the Credo, etc. The result is perhaps more musicologically interesting than musi- cally compelling; despite the clear influences of local musical traditions on the Mass itself, the disjunction between the lighthearted- and sometimes downright vulgar-songs and the traditional Mass sections is sometimes a bit jarring. There is no arguing, however, with either the quality of the performances or the historical/ethnographical significance of the music itself.

Arias for Farinelli. Akademie fur Alte Musik Berlin; Vivica Genaux/Rene Jacobs. Harmonia Mundi HMC 901778, 2002.

Popular interest in baroque music written for castrati hit a brief peak in 1994 with the release of the hit film Farinelli, a drama- tized biography of the great eighteenth- century castrato singer Carlo Broschi (better known by his stage name, Farinelli). Because the practice of castrating children for aesthetic purposes has thankfully been discontinued, and because women's voices are noticeably different from those of male castrati, the makers of the film were faced with a dilemma, one which they met by means of technology, synthetically fusing







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a discography of beethoven's chamber music- everything but the string quartets

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