{"id":9006,"date":"2018-01-07T02:32:42","date_gmt":"2018-01-07T01:33:33","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=9006"},"modified":"2025-05-06T15:59:08","modified_gmt":"2025-05-06T13:59:08","slug":"ottocento-scheidler-vanhal-kuffner-krahmer-dimitri-ashkenazy-clarinet-jean-paul-greub-guitar","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/ottocento-scheidler-vanhal-kuffner-krahmer-dimitri-ashkenazy-clarinet-jean-paul-greub-guitar\/","title":{"rendered":"OTTOCENTO : SCHEIDLER \u2013 VANHAL \u2013 K\u00dcFFNER \u2013 KR\u00c4HMER \u2013 DIMITRI ASHKENAZY, CLARINET \u2013 JEAN-PAUL GREUB, GUITAR"},"content":{"rendered":"

Christian Gottlieb SCHEIDLER :<\/strong> Sonata in D Major, Op. 21: I. Allegro – Sonata in D Major, Op. 21: II. Romance – Sonata in D Major, Op. 21: III. Rondo \u2013 Friedrich BURGM\u00dcLLER :<\/strong> 3 Nocturnes: I. Andantino – 3 Nocturnes: II. Adagio cantabile – 3 Nocturnes: III. Allegro moderato \u2013 Johann Baptist VANHAL :<\/strong> 6 Variations on “Nel cor pi\u00f9 non mi sento”, Op. 42: I. Andantino – Thema – II. Variation No. 1 – III. Variation No. 2 – IV. Variation No. 3 – V. variation No. 4 – VI. Variation No. 5 – VII. Variation No. 6 – Allegretto \u2013 Joseph K\u00dcFFNER :<\/strong> Serenade in C Major, Op. 44: I. Duetto \u2013 Andante – Serenade in C Major, Op. 44: II. Menuetto – Allegretto – Serenade in C Major, Op. 44: III. Rondo – Moderato \u2013 Ernest KR\u00c4HMER :<\/strong> Introduction & Variations on a Original Theme, Op. 32: I. Introduction – Andante sostenuto – II. Thema – Allegretto – III. Variation No. 1 – IV. Variation No. 2 – V. Variation no. 3 – VI. Variation No. 4 – VII. Variation No. 5 – VIII. Variation No. 6 – IX. Variation No. 7 – Allegro brillante – X. Variation No. 8.<\/p>\n

Dimitri Ashkenazy, Clarinet \u2013 Jean-Paul Greub, Guitar.<\/h4>\n

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The combination of clarinet and guitar is far less frequent than the more frequently encountered ones of flute-guitar or violin-guitar, even though there are references to it already at the end of the 18th century. Dimitri Ashkenazy and Jean-Paul Greub share an interest in rediscovering its repertoire as well as continuing their search for concert material by commissioning new works. This undertaking began in 2001, and since then the duo has performed in Switzerland, Germany and Russia, playing works from three centuries both original and transcribed, many of them premieres.<\/p>\n

Transcriptions for various ensembles are almost a sine qua non of what is commonly known as \u201csalon music\u201d. Written primarily for amusement and entertainment, the original works are usually composed with easy future arrangement for other instruments in mind. This aspect also helps to make the pieces more popular, as more instrumentalists can include them in their repertoire. In this sense, the album presented here is a legitimate undertaking. The artists at the origin of the featured music, themselves both composers and performers, showcased their talents before audiences of aristocrats and bourgeoisie, continually trying to emulate one another\u2019s imagination, ingenuity and charm. The piano had become the instrument of choice, but the guitar also had its place: Easy to transport and ideal for accompanying soloists, it attained a position of honour in the salons. The clarinet, too, left its mark on the period – regularly featured in the symphony orchestra from 1750 onwards, it achieved exalted status in the immortal works of W.A.Mozart. It is no surprise, therefore, that it, too, has its rightful place in this salon repertoire. Certain genres feature prominently: Rondos, romances, serenades, nocturnes, fantasies or variations (often on themes from operas popular at the time). This abundance of forms and their transcriptions illuminate both the musical life of the time and the transition from the baroque to the classical and even romantic periods.<\/p>\n","protected":false},"excerpt":{"rendered":"

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