Andrew Clark, Geoffrey Govier - Czerny: Music for Horn & Fortepiano (2000)
BAND/ARTIST: Andrew Clark, Geoffrey Govier
- Title: Czerny: Music for Horn & Fortepiano
- Year Of Release: 2000
- Label: Hyperion
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:19:39
- Total Size: 255 MB
- WebSite: Album Preview
Tracklist
01. Introduction et Variationes concertantes, Op. 248: I. Adagio
02. Introduction et Variationes concertantes, Op. 248: II. Tema et variationes
03. Introduction et Variationes concertantes, Op. 248: III. Adagio espressivo
04. Introduction et Variationes concertantes, Op. 248: IV. Finale. Alla Polacca
05. Brillante Fantasie After Schubert, Op. 339 No. 1: I. Der Wanderer
06. Brillante Fantasie After Schubert, Op. 339 No. 1: II. Erlkönig
07. Brillante Fantasie After Schubert, Op. 339 No. 1: III. Das Ständchen
08. Brillante Fantasie After Schubert, Op. 339 No. 1: IV. Ständchen
09. Brillante Fantasie After Schubert, Op. 339 No. 1: V. Wohin?
10. Brillante Fantasie After Schubert, Op. 339 No. 1: VI. Das Wandern
11. Brillante Fantasie After Schubert, Op. 339 No. 1: VII. Jägers Lied
12. Brillante Fantasie After Schubert, Op. 339 No. 1: VIII. Trauerwalzer
13. Brillante Fantasie After Schubert, Op. 339 No. 2: I. Gruppe aus dem Tartarus
14. Brillante Fantasie After Schubert, Op. 339 No. 2: II. Der Einsame
15. Brillante Fantasie After Schubert, Op. 339 No. 2: III. Fischerweise
16. Brillante Fantasie After Schubert, Op. 339 No. 2: IV. Ellens Gesang "Ave Maria"
17. Brillante Fantasie After Schubert, Op. 339 No. 2: V. Der Fischer (von Goethe)
18. Brillante Fantasie After Schubert, Op. 339 No. 2: VI. Ungeduld
19. Brillante Fantasie After Schubert, Op. 339 No. 3: I. Nähe des Geliebten
20. Brillante Fantasie After Schubert, Op. 339 No. 3: II. Normanns Gesang (von W. Scott)
21. Brillante Fantasie After Schubert, Op. 339 No. 3: III. Aus Schuberts vierhändiger Fantasie
22. Brillante Fantasie After Schubert, Op. 339 No. 3: IV. Fülle der Liebe
23. Brillante Fantasie After Schubert, Op. 339 No. 3: V. Cavatine aus der Oper "Alfonso und Estrella"
24. Brillante Fantasie After Schubert, Op. 339 No. 3: VI. Gute Nacht
25. Brillante Fantasie After Schubert, Op. 339 No. 3: VII. Heimliches Lieben
26. Brillante Fantasie After Schubert, Op. 339 No. 3: VIII. Die Forelle
27. Andante e Polacca: I. Andante
28. Andante e Polacca: II. Allegro all Polacca
How convenient it would be if we could make history fit into neat little compartments! Music could be divided into the pre-Baroque, Baroque, Classical, Romantic and Modern. The piano would have ancestors in the harpsichord and fortepiano, and the horn would exist either without valves before the 1820s or with them thereafter. Unfortunately things are not as simple as that. There are composers whose music cannot easily be categorised, instruments which vary widely from their conventional forms, and a diversity of techniques required to play them.
The works on this CD illustrate several of these points, particularly with regard to the history of the horn and techniques of playing it. The Introduction et Variations concertantes sur une tirolienne, written for valved horn circa 1830, demonstrates Czerny’s knowledge of valve technology, but subsequently he composed for the natural (valveless) horn (see ‘The Instruments’ below) in the Brillante Fantasien (c1836) and the Andante e Polacca (1848). We do not know of any specific reason why he seemed to turn his back on the new development of valves, but we can learn some of his thoughts and feelings about the use of the horn from his School of Practical Composition, Op 600, first published in 1839. In the English edition of 1846 there are several points in the main section on the use of the natural horn, but he refers to brass instruments with valves only in the appendix where he gives an outline of the saxhorn family (a new invention of Adolphe Sax—the inventor of the saxophone)...
01. Introduction et Variationes concertantes, Op. 248: I. Adagio
02. Introduction et Variationes concertantes, Op. 248: II. Tema et variationes
03. Introduction et Variationes concertantes, Op. 248: III. Adagio espressivo
04. Introduction et Variationes concertantes, Op. 248: IV. Finale. Alla Polacca
05. Brillante Fantasie After Schubert, Op. 339 No. 1: I. Der Wanderer
06. Brillante Fantasie After Schubert, Op. 339 No. 1: II. Erlkönig
07. Brillante Fantasie After Schubert, Op. 339 No. 1: III. Das Ständchen
08. Brillante Fantasie After Schubert, Op. 339 No. 1: IV. Ständchen
09. Brillante Fantasie After Schubert, Op. 339 No. 1: V. Wohin?
10. Brillante Fantasie After Schubert, Op. 339 No. 1: VI. Das Wandern
11. Brillante Fantasie After Schubert, Op. 339 No. 1: VII. Jägers Lied
12. Brillante Fantasie After Schubert, Op. 339 No. 1: VIII. Trauerwalzer
13. Brillante Fantasie After Schubert, Op. 339 No. 2: I. Gruppe aus dem Tartarus
14. Brillante Fantasie After Schubert, Op. 339 No. 2: II. Der Einsame
15. Brillante Fantasie After Schubert, Op. 339 No. 2: III. Fischerweise
16. Brillante Fantasie After Schubert, Op. 339 No. 2: IV. Ellens Gesang "Ave Maria"
17. Brillante Fantasie After Schubert, Op. 339 No. 2: V. Der Fischer (von Goethe)
18. Brillante Fantasie After Schubert, Op. 339 No. 2: VI. Ungeduld
19. Brillante Fantasie After Schubert, Op. 339 No. 3: I. Nähe des Geliebten
20. Brillante Fantasie After Schubert, Op. 339 No. 3: II. Normanns Gesang (von W. Scott)
21. Brillante Fantasie After Schubert, Op. 339 No. 3: III. Aus Schuberts vierhändiger Fantasie
22. Brillante Fantasie After Schubert, Op. 339 No. 3: IV. Fülle der Liebe
23. Brillante Fantasie After Schubert, Op. 339 No. 3: V. Cavatine aus der Oper "Alfonso und Estrella"
24. Brillante Fantasie After Schubert, Op. 339 No. 3: VI. Gute Nacht
25. Brillante Fantasie After Schubert, Op. 339 No. 3: VII. Heimliches Lieben
26. Brillante Fantasie After Schubert, Op. 339 No. 3: VIII. Die Forelle
27. Andante e Polacca: I. Andante
28. Andante e Polacca: II. Allegro all Polacca
How convenient it would be if we could make history fit into neat little compartments! Music could be divided into the pre-Baroque, Baroque, Classical, Romantic and Modern. The piano would have ancestors in the harpsichord and fortepiano, and the horn would exist either without valves before the 1820s or with them thereafter. Unfortunately things are not as simple as that. There are composers whose music cannot easily be categorised, instruments which vary widely from their conventional forms, and a diversity of techniques required to play them.
The works on this CD illustrate several of these points, particularly with regard to the history of the horn and techniques of playing it. The Introduction et Variations concertantes sur une tirolienne, written for valved horn circa 1830, demonstrates Czerny’s knowledge of valve technology, but subsequently he composed for the natural (valveless) horn (see ‘The Instruments’ below) in the Brillante Fantasien (c1836) and the Andante e Polacca (1848). We do not know of any specific reason why he seemed to turn his back on the new development of valves, but we can learn some of his thoughts and feelings about the use of the horn from his School of Practical Composition, Op 600, first published in 1839. In the English edition of 1846 there are several points in the main section on the use of the natural horn, but he refers to brass instruments with valves only in the appendix where he gives an outline of the saxhorn family (a new invention of Adolphe Sax—the inventor of the saxophone)...
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