Amadeus

Un Divertimento piccolo per Clavecimbalo, Corno e Violino accompagnato.

Danzi's melody-laden Op. 10 captivates with its 'balanced' instrumental interplay: comfortable to perform; especially rewarding for the violas.

Rosetti wrote this colorful and contrapuntally dense work, which received wide circulation and recognition during his lifetime, in November 1782 for the famous Parisian 'Concert spirituel'. A prime ex...

Unique in their instrumentation, these trios were long considered lost: Delicacies from a time in which tone painting aimed at euphony came into fashion.

All-familiar work loaded with rhythmic and harmonic finesse in the rare instrumentation (see Cambini).

Transferred to the oboe without loss of substance after the version with clarinet. A gain for all oboists who would like to add relatives to the Mozart quartet.

Of enchanting melodic beauty and pathetic expressiveness, this work is TOO attractive for stage and house to dispense with its 'playful' appropriation.

The work seemed so successful to its creator that he offered it in 2 versions for concert use. It appeared as op.7 in the version with clarinet (Amadeus BP 1208).

Written in 1952, this tonal work is captivating for the esprit of its 'programmatic' movements: Aubade, Capriccio, Cortège triste and Sérénade.

The work brings pleasure to many musicians, all of whom can 'put on a show', pleasant and useful entertainment with modest technical effort.

One of the few romantic flute quartets. It was repertoire during the lifetime of Thieriot, an almost forgotten intimate of Brahms. Revised from the first printing of 1905.

First Edition

First Edition

First Edition

The works of the Rinteler Amtsmusiker Volckmar stand in their perfect compositional expression and invention far above the utility music of the time. Repertoire worthy.

The concerto is suitable for both choric and solo performance. To allow for these alternatives, a complete set of parts has been added to the score and realization of the thorough bass.

Frist Edition

Written in the 1930s, the concerto was inspired by the Zurich Chamber Orchestra and has since been undeniably regarded as 'a throw in invention, powerful in design and of pithy modernity'.

The beauty and brilliance of this sextet, which can be performed well without horns, are unparalleled: it will remain forever young.