Adolf Busch: Chamber Music, Volume Two: Music for Clarinet II
Adolf Busch (1891–1952) enjoys a reputation as one of the greatest of all violinists: his recordings of Beethoven with the Busch Quartet have never been surpassed. But Busch was also one of the major composers of his day, equally natural as contrapuntist and melodist, with a style that owed much to his boyhood idol, Max Reger. Yet, always a man of principle, he sacrificed his career as both violinist and composer with his dignified refusal to perform or be performed in Nazi Germany. This second CD of his lyrical writing for clarinet, one in a series of recordings of Busch’s light-filled chamber music, is part of the rediscovery of one of the leading musicians of his day.
Sadie Harrison: Solos and Duos for Strings and Piano
The Australian-British Sadie Harrison is no ordinary composer: she is also an archaeologist and a professional gardener. So it is hardly surprising that a fascination with historical artefacts and biological processes filters into her music. The instrumental miniatures on this recording are both slow and brutal, some of them mirroring ancient worlds and natural phenomena and others taking their starting point in the paintings of Brian Graham and Peter Sheppard Skærved, expressing visual and textural ideas in sound.
Ernst Krenek: Piano Music, Volume One
This first extended survey of the piano music of Ernst Krenek (1900–92) opens with his Fourth Sonata of 1948, which revisits the graceful elegance of the First Viennese School in the style of the Second. It continues with the witty George Washington Variations and the first recording of a brief Prelude written for the Swiss patron of music, Werner Reinhart, and concludes with Krenek’s completed version of Schubert’s unfinished Piano Sonata in C major, d840.
Giuseppe Tartini: 30 Sonate Piccole for Solo Violin, Volume Three: Sonatas Nos. 13-18
In the last years of his life, the great composer, violinist and swordsman Giuseppe Tartini (1692–1770) laboured at a cycle of sonatas for solo violin. The resulting manuscript offers the most important composition for solo violin after Bach and, at six hours in duration, the largest integrated work for the instrument. This first complete recording is based on a fresh study of the source and includes a number of works in Tartini’s shorthand, overlooked in earlier editions.