Wolfgang Amadeus Mozart |
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Over the past two decades “the arrangement” has enjoyed something of a revival, which would surely be a source of delight to classical composers, although they would never have understood why it fell out of favour in the first place. The present set of three string quartets, arranged from two violin sonatas and a piano trio, were originally published by André in Vienna in 1799. A certain independence is noticeable on the part of the anonymous arranger, but the results are strikingly successful, effectively adding three new works to the Mozart œuvre and providing a welcome and gracious alternative for those quartet players who are seeking to move beyond the familiar, over-exposed repertoire.
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Joseph Haydn
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The “Melker” Concerto in A Major, Hob. VII a: 3, is one of the few violin concertos by Joseph Haydn regarded as authentic. Listed in the Breitkopf catalogue in 1771, it was probably composed some time between 1765 and 1770. The autograph, regrettably, has not survived. The source on which the present edition is based consists of the principal and other violin parts, in the hand of an unknown copyist, preserved in the music collection of the Benedictine abbey of Melk (Stift Melk) in Austria (the work’s nickname derives from this location).
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Tomaso Albinoni
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This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, describes how Clori, seeing her beloved Clizio asleep in a grassy meadow, begs him to awake, since only then will her love-pangs be stilled. The verse may be banal, but the lightness and grace of Albinoni’s setting turns it into something delightful – a precursor, almost, of the versions by Brahms and Wolf of "In dem Schatten meiner Locken". |
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Tomaso Albinoni
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This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, describes a disappointed lover's repudiation of Cupid. The form is notably concise, having only three movements: two arias enclosing a recitative. The first aria, expressing the lover's unhappiness in love, employs an ostinato bass - a speciality of the composer - very eloquently, while the second aria playfully, almost flirtatiously, heaps opprobrium on Cupid, even though one suspects that sooner or later the lover will be grateful again for his services. |
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Giovanni Francesco Giuliani
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Giuliani’s compositions, especially the concertos, display a formal balance and cantabile style reminiscent of the works of his teacher Pietro Nardini, one of the most illustrious violinists of the latter half of the eighteenth century. The Second Violin Concerto, written in 1785 and published the same year in London by William Foster, appears here in a most effective new arrangement for solo violin and keyboard. |
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