Amadeus

With the Quartet TWV 43:g2 by Georg Philipp Telemann, a Baroque chamber music gem of timeless elegance and sonic depth unfolds. The exquisite instrumentation for oboe, violin, viola, and basso continu...

The quartet, as in his 3 quintets, reflects the development of clarinet playing and its turn towards the cantabile moments of expression 'inherent' in the instrument. C. M. v. Weber dedicated his two...

In Vivaldi's only two-trumpet concerto, which radiates festive splendor, he shows all the tricks of the trade in order not to let the lack of notes (only eleven were available at the time) become noti...

In Vivaldi's only two-trumpet concerto, which radiates festive splendor, he shows all the tricks to make the lack of tones (only eleven were available at the time) imperceptible: imitation, thirds sta...

In the sister work of the quintet, also in G minor, the variable coloring of the melodies and the strong tonal contrasts with sparing use of the accompanying voices are particularly noteworthy in all...

The works, still written in the garb of late Baroque concertante form, reach far into the High Classical period in their 'sensitive manner' as well as melodic invention, despite a continuo-bound bass.

Edited from the First Edition.

First Edition

Edited from the first edition

First Edition

Edited from the original edition. Das schmale, in melodischer und harmonischer Hinsicht ungemein faszinierende Instrumentalwerk ruft nach einer Renaissance.

Edited from the original edition.

First Edition

The collection 'European Love Songs from 8 Centuries' (Munich 1978) gave the occasion to capture this song material instrumentally in the distinctive instrumentation of alto flute and harp.

First published in 1878, Op.31, a sequence of 9 movements, are well-formed melodic reminiscences of the Moravian homeland, whose caprices of sound leave nothing to be desired.

Clog Dance - Dance of the Lights - Rain Dance - Tear Dance - Dance of the Goblins - Dance of Longing - Joyful Dance - Conjuring Dance

The appreciation and demand for Kummer's flute quartets is reflected not least in the numerous reprints of his time. Our new editions aim to confirm this judgment.