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Members of the Boston Symphony Orchestra Get this free download from Classicsonline! Carl Spohr: String Sextet: Scherzo: Moderato – Finale: Presto Copy this Promotion Code NaxD8hOhjoKh and go to www.classicsonline.com/mpkey/scher_main Fenwick Smith, • Keisuke Wakao, • Thomas Martin, Clarinet • Craig Nordstrom, Clarinet Jonathan Menkis, Horn • Daniel Katzen, Horn • Richard Ranti, REINECKE Downloading Instructions Roland Small, Bassoon • Hugh Hinton, Piano 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at http://www.classicsonline.com/UserLogIn/SignUp.aspx. From the Cradle to the Grave The Boston Symphony Orchestra members heard on this recording all take an active interest in , both 2 Enter the Promotion Code mentioned above. for its own sake and as a way of enhancing the skills required for orchestral performance at the highest level. In 3 On the next screen, click on “Add to My Downloads”. Wind Octet • Wind Sextet various configurations, they have made many appearances together in the orchestra’s prelude concerts at Symphony Hall and at Tanglewood, and in other chamber-music series throughout Massachusetts and in Japan. Fenwick Smith joined the orchestra in 1978 as Second Flute. He has several solo and chamber-music recordings Smith • Wakao • Martin • Nordstrom • Menkis to his credit, including works by Aaron Copland, Arthur Foote, Charles Koechlin, and Erwin Schulhoff. Keisuke Wakao, a native of Japan, has been Assistant Principal Oboe since 1990. Thomas Martin joined the orchestra as Katzen • Ranti • Small • Hinton Second Clarinet in 1984 and was named Assistant Principal in 1990; Craig Nordstrom has occupied the Bass Clarinet position since 1979. Jonathan Menkis has been Assistant Principal since 1984, Daniel Katzen has been Second Horn since 1979. Richard Ranti, who became a member of the Philadelphia Orchestra at the age of nineteen, joined the BSO as Assistant Principal Bassoon in 1989; Roland Small was Second Bassoon from 1975 to 2001. The principal players of the BSO have long been known to an international audience through their many tours and recordings as the Boston Symphony Chamber Players. This recording by the non-principal players of the Orchestra, demonstrates the depth and versatility of the BSO’s distinguished wind section, Pianist Hugh Hinton is a graduate of the New England Conservatory, where he was a student of Russell Sherman. As a winner of youth concerto competitions he has performed with the orchestras of Dallas, New Orleans, and Boston. Since 1991 he has been a member of the Boston Musica Viva, a leading contemporary-music ensemble.

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Carl Reinecke (1824–1910): Music for Wind Instruments Carl Reinecke (1824–1910): Music for Wind Instruments expected sonata-allegro form (all repeats are taken in success. A biography of Reinecke was issued four years Von der Wiege bis zum Grabe • Wind Octet • Wind Sextet these performances), but in place of the expected slow later by his principal publisher, J. H. Zimmerman, movement, Reinecke continues with a scherzo of including, at the back of the book, several Wind Octet in B flat major, Op. 216 (c. 1892) 22:55 For composers of chamber music in the romantic era, and Janáãek. Today Reinecke is remembered primarily Mendelssohnian lightness and charm, which ends advertisements for Reinecke’s recent works. A full page 1 Allegro moderato 8:43 stringed instruments, with or without the addition of the for his fine 1882 sonata for flute and piano Undine, a Puckishly with the two horns alone. The Adagio, the is devoted to Op. 202, with glowing critical notices, a 2 Scherzo: Vivace 3:04 piano, represented the sonic ideal. Apart from the work which might have found its way onto this expressive centre of the Octet, is laid out in three broad, report that it was already in its tenth printing, and 3 Adagio ma non troppo 5:53 quintets of Franz Danzi and Antoine Reicha, repertoire recording, except that it has already been recorded sonorous climaxes, the last carried by the oboe. The descriptions of numerous unattributed arrangements, 4 Finale: Allegro molto e grazioso 5:15 for pure wind ensembles was scarce. So Carl Reinecke’s dozens of times. following rondo, marked Allegro molto, provides the including the present one for flute and piano. It was genial Sextet and Octet for winds loom rather large in a Since the 1840s Mendelssohn and Schumann had strongest possible contrast. It is a spirited romp led by typical practice for composers as successful as Reinecke sparse landscape, for they are substantial, handsomely been the leading lights of Leipzig’s flourishing musical the flute and clarinet, with opportunities for all to show to entrust the making of such arrangements to lesser Von der Wiege bis zum Grabe (From the Cradle to the Grave), Op. 202 (1888) 24:30 crafted works. The traditional woodwind quintet can be life. Reinecke was an admirer and disciple of both, and their virtuosity and panache. composers. Schumann, pressed by his publisher some (arranged for flute and piano by Ernesto Köhler) tonally top-heavy, but Reinecke’s inclusion of a second his compositional style and artistic aims were much The Sextet, composed approximately thirteen years forty years earlier for a piano four-hand arrangement of 5 Spiel und Tanz (Play and Dance): Vivace 2:32 horn in Op. 271, and additional parts for clarinet and influenced by the older masters. From about 1890, after the Octet, shows in its first movement greater his Third Symphony, had in fact recommended the 6 Rüstiges Schaffen (Vigorous Work): Allegro 2:35 bassoon in Op. 216, provide a sonorous and well however, Brahms’s star was on the rise, and Reinecke’s contrapuntal interest than the earlier work. The entire young Reinecke. 7 O schöne Maiennacht (O Beautiful May Night): Andante con grazia 3:49 balanced ensemble. accomplishments, though highly regarded, were first movement is based on a falling melodic motive, The present arrangement was made be the flautist- 8 Hochzeitszug (Bridal Procession): Moderato 3:19 In Romantic chamber music, the ideal was the string increasingly overshadowed by those of the greater heard already in the first bar, and repeated three times by composer Ernesto Köhler. He selected eight of the 9 Trost (Consolation): Con moto 1:40 quartet, as handed down from Haydn, Beethoven and composer. Around this time, wind instruments began to the horn at the end of the movement. Reinecke calls sixteen pieces, retaining their original order and self- Mozart. Schubert, Schumann, Brahms and their figure more prominently in Reinecke’s output – a attention to this motive a mere eighteen seconds into the explanatory titles. In these charming Schumannesque 0 Gebürtstagsmarsch (Birthday March): Vivace 3:15 contemporaries filled the classical forms with romantic development that may largely be explained by his desire movement, when it is heard in close succession in five miniatures Reinecke’s indebtedness to the older master ! Im Silberkranze (Silver-crowned): Andante sostenuto 3:42 expression and drama, often adding a piano to to avoid competing with Brahms on his own turf. different instruments – a sort of microscopic is underscored by his quotation of the Grossvatertanz @ Abendsonne (Sunset): Andante 3:38 complement and reinforce the string group, but At least one commentator, explaining why Brahms development passage. The remaining movements are in (Grandfather’s Dance), a seventeenth-century tune woodwind instruments appeared only seldom, and so overshadowed Reinecke, suggested that the ternary, or A-B-A form. The Adagio has at its centre a quoted by Schumann in his own works, and traditionally Wind Sextet in B flat major, Op. 271 (c. 1905) 20:25 almost always singly. The woodwind instrument most in production of richness of tone was not Reinecke’s forte. sprightly Vivace ma non troppo dominated by the flute; the last dance of a ball. Reinecke introduces this tune in # Allegro moderato 8:07 favour was the clarinet, prized by the Romantics for its But in both the Sextet and the Octet Reinecke handily and the Finale has at its centre a lilting, waltz-like Abendsonne (Sunset) and builds it up to a climax of avoids any such shortcoming; his decades of experience considerable vitality, as we might expect from a $ Adagio molto 6:42 warm, blending tone and smooth legato. Weber, episode marked Moderato con grazia – the better to set Schumann and Brahms each wrote fine chamber works as an orchestral conductor gave him a thorough up the rambunctious coda. composer who retained his creative energy into % Finale: Allegro moderato, ma con spirito 5:36 for the clarinet, but comparable works including flute, knowledge of the wind instruments, and the music Reinecke’s cycle of sixteen piano pieces Von der advanced old age. oboe, horn or bassoon are scarce indeed. The return of invariably sounds well. In the Adagio of the Octet, for Wiege bis zum Grabe, Op. 202, (From the Cradle to the the woodwinds as equals in chamber music would have example, his skilful scoring yields a sonority at once Grave), was published in 1888. It was a resounding Fenwick Smith to await the revolutionary advances of the twentieth rich, noble and beautifully balanced. Though the skill Members of the Boston Symphony Orchestra century. with which he develops and manipulates his material is Carl Reinecke, the precocious child of a provincial sometimes more memorable than the tunes themselves, music teacher, was an accomplished violinist and violist; his mastery of form is secure, his harmonic vocabulary Fenwick Smith, Flute (Tracks 1-15) • Keisuke Wakao, Oboe (Tracks 1-4 and 13-15) he was also among Germany’s most prominent concert sophisticated if not innovative. Indeed the only mystery Thomas Martin, Clarinet (Tracks 1-4 and 13-15) • Craig Nordstrom, Clarinet (Tracks 1-4) pianists. He had started composing at the age of seven, attending these genial pieces is that they should have Jonathan Menkis, Horn (Tracks 1-4 and 13-15) • Daniel Katzen, Horn (Tracks 1-4) and continued throughout his long and enormously been so long and so widely overlooked, and that they Richard Ranti, Bassoon (Tracks 1-4 and 13-15) • Roland Small, Bassoon (Tracks 1-4) productive life, accumulating a catalogue of 288 opus should have had to wait most of a century for their first Hugh Hinton, Piano (Tracks 5-12) numbers in all genres. Truly the complete musician, recording. Reinecke also enjoyed a prominent and successful The opening phrases of the Octet show immediately career as a conductor. In 1860 he was appointed music the rich, warm, blended sound that can be achieved with director of the Gewandhaus Orchestra of Leipzig and pairs of , horns, and clarinets supporting the professor of piano and composition at the Conservatory, upper voices of oboe and flute – a sonority that even where he taught composers as varied as Bruch, Albéniz, Brahms might have envied. The first movement is in the 8.570777 23 8.570777 4 8.570777 570777bk Reinecke US 15/4/08 19:18 Page 2

Carl Reinecke (1824–1910): Music for Wind Instruments Carl Reinecke (1824–1910): Music for Wind Instruments expected sonata-allegro form (all repeats are taken in success. A biography of Reinecke was issued four years Von der Wiege bis zum Grabe • Wind Octet • Wind Sextet these performances), but in place of the expected slow later by his principal publisher, J. H. Zimmerman, movement, Reinecke continues with a scherzo of including, at the back of the book, several Wind Octet in B flat major, Op. 216 (c. 1892) 22:55 For composers of chamber music in the romantic era, and Janáãek. Today Reinecke is remembered primarily Mendelssohnian lightness and charm, which ends advertisements for Reinecke’s recent works. A full page 1 Allegro moderato 8:43 stringed instruments, with or without the addition of the for his fine 1882 sonata for flute and piano Undine, a Puckishly with the two horns alone. The Adagio, the is devoted to Op. 202, with glowing critical notices, a 2 Scherzo: Vivace 3:04 piano, represented the sonic ideal. Apart from the work which might have found its way onto this expressive centre of the Octet, is laid out in three broad, report that it was already in its tenth printing, and 3 Adagio ma non troppo 5:53 quintets of Franz Danzi and Antoine Reicha, repertoire recording, except that it has already been recorded sonorous climaxes, the last carried by the oboe. The descriptions of numerous unattributed arrangements, 4 Finale: Allegro molto e grazioso 5:15 for pure wind ensembles was scarce. So Carl Reinecke’s dozens of times. following rondo, marked Allegro molto, provides the including the present one for flute and piano. It was genial Sextet and Octet for winds loom rather large in a Since the 1840s Mendelssohn and Schumann had strongest possible contrast. It is a spirited romp led by typical practice for composers as successful as Reinecke sparse landscape, for they are substantial, handsomely been the leading lights of Leipzig’s flourishing musical the flute and clarinet, with opportunities for all to show to entrust the making of such arrangements to lesser Von der Wiege bis zum Grabe (From the Cradle to the Grave), Op. 202 (1888) 24:30 crafted works. The traditional woodwind quintet can be life. Reinecke was an admirer and disciple of both, and their virtuosity and panache. composers. Schumann, pressed by his publisher some (arranged for flute and piano by Ernesto Köhler) tonally top-heavy, but Reinecke’s inclusion of a second his compositional style and artistic aims were much The Sextet, composed approximately thirteen years forty years earlier for a piano four-hand arrangement of 5 Spiel und Tanz (Play and Dance): Vivace 2:32 horn in Op. 271, and additional parts for clarinet and influenced by the older masters. From about 1890, after the Octet, shows in its first movement greater his Third Symphony, had in fact recommended the 6 Rüstiges Schaffen (Vigorous Work): Allegro 2:35 bassoon in Op. 216, provide a sonorous and well however, Brahms’s star was on the rise, and Reinecke’s contrapuntal interest than the earlier work. The entire young Reinecke. 7 O schöne Maiennacht (O Beautiful May Night): Andante con grazia 3:49 balanced ensemble. accomplishments, though highly regarded, were first movement is based on a falling melodic motive, The present arrangement was made be the flautist- 8 Hochzeitszug (Bridal Procession): Moderato 3:19 In Romantic chamber music, the ideal was the string increasingly overshadowed by those of the greater heard already in the first bar, and repeated three times by composer Ernesto Köhler. He selected eight of the 9 Trost (Consolation): Con moto 1:40 quartet, as handed down from Haydn, Beethoven and composer. Around this time, wind instruments began to the horn at the end of the movement. Reinecke calls sixteen pieces, retaining their original order and self- Mozart. Schubert, Schumann, Brahms and their figure more prominently in Reinecke’s output – a attention to this motive a mere eighteen seconds into the explanatory titles. In these charming Schumannesque 0 Gebürtstagsmarsch (Birthday March): Vivace 3:15 contemporaries filled the classical forms with romantic development that may largely be explained by his desire movement, when it is heard in close succession in five miniatures Reinecke’s indebtedness to the older master ! Im Silberkranze (Silver-crowned): Andante sostenuto 3:42 expression and drama, often adding a piano to to avoid competing with Brahms on his own turf. different instruments – a sort of microscopic is underscored by his quotation of the Grossvatertanz @ Abendsonne (Sunset): Andante 3:38 complement and reinforce the string group, but At least one commentator, explaining why Brahms development passage. The remaining movements are in (Grandfather’s Dance), a seventeenth-century tune woodwind instruments appeared only seldom, and so overshadowed Reinecke, suggested that the ternary, or A-B-A form. The Adagio has at its centre a quoted by Schumann in his own works, and traditionally Wind Sextet in B flat major, Op. 271 (c. 1905) 20:25 almost always singly. The woodwind instrument most in production of richness of tone was not Reinecke’s forte. sprightly Vivace ma non troppo dominated by the flute; the last dance of a ball. Reinecke introduces this tune in # Allegro moderato 8:07 favour was the clarinet, prized by the Romantics for its But in both the Sextet and the Octet Reinecke handily and the Finale has at its centre a lilting, waltz-like Abendsonne (Sunset) and builds it up to a climax of avoids any such shortcoming; his decades of experience considerable vitality, as we might expect from a $ Adagio molto 6:42 warm, blending tone and smooth legato. Weber, episode marked Moderato con grazia – the better to set Schumann and Brahms each wrote fine chamber works as an orchestral conductor gave him a thorough up the rambunctious coda. composer who retained his creative energy into % Finale: Allegro moderato, ma con spirito 5:36 for the clarinet, but comparable works including flute, knowledge of the wind instruments, and the music Reinecke’s cycle of sixteen piano pieces Von der advanced old age. oboe, horn or bassoon are scarce indeed. The return of invariably sounds well. In the Adagio of the Octet, for Wiege bis zum Grabe, Op. 202, (From the Cradle to the the woodwinds as equals in chamber music would have example, his skilful scoring yields a sonority at once Grave), was published in 1888. It was a resounding Fenwick Smith to await the revolutionary advances of the twentieth rich, noble and beautifully balanced. Though the skill Members of the Boston Symphony Orchestra century. with which he develops and manipulates his material is Carl Reinecke, the precocious child of a provincial sometimes more memorable than the tunes themselves, music teacher, was an accomplished violinist and violist; his mastery of form is secure, his harmonic vocabulary Fenwick Smith, Flute (Tracks 1-15) • Keisuke Wakao, Oboe (Tracks 1-4 and 13-15) he was also among Germany’s most prominent concert sophisticated if not innovative. Indeed the only mystery Thomas Martin, Clarinet (Tracks 1-4 and 13-15) • Craig Nordstrom, Clarinet (Tracks 1-4) pianists. He had started composing at the age of seven, attending these genial pieces is that they should have Jonathan Menkis, Horn (Tracks 1-4 and 13-15) • Daniel Katzen, Horn (Tracks 1-4) and continued throughout his long and enormously been so long and so widely overlooked, and that they Richard Ranti, Bassoon (Tracks 1-4 and 13-15) • Roland Small, Bassoon (Tracks 1-4) productive life, accumulating a catalogue of 288 opus should have had to wait most of a century for their first Hugh Hinton, Piano (Tracks 5-12) numbers in all genres. Truly the complete musician, recording. Reinecke also enjoyed a prominent and successful The opening phrases of the Octet show immediately career as a conductor. In 1860 he was appointed music the rich, warm, blended sound that can be achieved with director of the Gewandhaus Orchestra of Leipzig and pairs of bassoons, horns, and clarinets supporting the professor of piano and composition at the Conservatory, upper voices of oboe and flute – a sonority that even where he taught composers as varied as Bruch, Albéniz, Brahms might have envied. The first movement is in the 8.570777 23 8.570777 4 8.570777 570777bk Reinecke US 15/4/08 19:18 Page 2

Carl Reinecke (1824–1910): Music for Wind Instruments Carl Reinecke (1824–1910): Music for Wind Instruments expected sonata-allegro form (all repeats are taken in success. A biography of Reinecke was issued four years Von der Wiege bis zum Grabe • Wind Octet • Wind Sextet these performances), but in place of the expected slow later by his principal publisher, J. H. Zimmerman, movement, Reinecke continues with a scherzo of including, at the back of the book, several Wind Octet in B flat major, Op. 216 (c. 1892) 22:55 For composers of chamber music in the romantic era, and Janáãek. Today Reinecke is remembered primarily Mendelssohnian lightness and charm, which ends advertisements for Reinecke’s recent works. A full page 1 Allegro moderato 8:43 stringed instruments, with or without the addition of the for his fine 1882 sonata for flute and piano Undine, a Puckishly with the two horns alone. The Adagio, the is devoted to Op. 202, with glowing critical notices, a 2 Scherzo: Vivace 3:04 piano, represented the sonic ideal. Apart from the work which might have found its way onto this expressive centre of the Octet, is laid out in three broad, report that it was already in its tenth printing, and 3 Adagio ma non troppo 5:53 quintets of Franz Danzi and Antoine Reicha, repertoire recording, except that it has already been recorded sonorous climaxes, the last carried by the oboe. The descriptions of numerous unattributed arrangements, 4 Finale: Allegro molto e grazioso 5:15 for pure wind ensembles was scarce. So Carl Reinecke’s dozens of times. following rondo, marked Allegro molto, provides the including the present one for flute and piano. It was genial Sextet and Octet for winds loom rather large in a Since the 1840s Mendelssohn and Schumann had strongest possible contrast. It is a spirited romp led by typical practice for composers as successful as Reinecke sparse landscape, for they are substantial, handsomely been the leading lights of Leipzig’s flourishing musical the flute and clarinet, with opportunities for all to show to entrust the making of such arrangements to lesser Von der Wiege bis zum Grabe (From the Cradle to the Grave), Op. 202 (1888) 24:30 crafted works. The traditional woodwind quintet can be life. Reinecke was an admirer and disciple of both, and their virtuosity and panache. composers. Schumann, pressed by his publisher some (arranged for flute and piano by Ernesto Köhler) tonally top-heavy, but Reinecke’s inclusion of a second his compositional style and artistic aims were much The Sextet, composed approximately thirteen years forty years earlier for a piano four-hand arrangement of 5 Spiel und Tanz (Play and Dance): Vivace 2:32 horn in Op. 271, and additional parts for clarinet and influenced by the older masters. From about 1890, after the Octet, shows in its first movement greater his Third Symphony, had in fact recommended the 6 Rüstiges Schaffen (Vigorous Work): Allegro 2:35 bassoon in Op. 216, provide a sonorous and well however, Brahms’s star was on the rise, and Reinecke’s contrapuntal interest than the earlier work. The entire young Reinecke. 7 O schöne Maiennacht (O Beautiful May Night): Andante con grazia 3:49 balanced ensemble. accomplishments, though highly regarded, were first movement is based on a falling melodic motive, The present arrangement was made be the flautist- 8 Hochzeitszug (Bridal Procession): Moderato 3:19 In Romantic chamber music, the ideal was the string increasingly overshadowed by those of the greater heard already in the first bar, and repeated three times by composer Ernesto Köhler. He selected eight of the 9 Trost (Consolation): Con moto 1:40 quartet, as handed down from Haydn, Beethoven and composer. Around this time, wind instruments began to the horn at the end of the movement. Reinecke calls sixteen pieces, retaining their original order and self- Mozart. Schubert, Schumann, Brahms and their figure more prominently in Reinecke’s output – a attention to this motive a mere eighteen seconds into the explanatory titles. In these charming Schumannesque 0 Gebürtstagsmarsch (Birthday March): Vivace 3:15 contemporaries filled the classical forms with romantic development that may largely be explained by his desire movement, when it is heard in close succession in five miniatures Reinecke’s indebtedness to the older master ! Im Silberkranze (Silver-crowned): Andante sostenuto 3:42 expression and drama, often adding a piano to to avoid competing with Brahms on his own turf. different instruments – a sort of microscopic is underscored by his quotation of the Grossvatertanz @ Abendsonne (Sunset): Andante 3:38 complement and reinforce the string group, but At least one commentator, explaining why Brahms development passage. The remaining movements are in (Grandfather’s Dance), a seventeenth-century tune woodwind instruments appeared only seldom, and so overshadowed Reinecke, suggested that the ternary, or A-B-A form. The Adagio has at its centre a quoted by Schumann in his own works, and traditionally Wind Sextet in B flat major, Op. 271 (c. 1905) 20:25 almost always singly. The woodwind instrument most in production of richness of tone was not Reinecke’s forte. sprightly Vivace ma non troppo dominated by the flute; the last dance of a ball. Reinecke introduces this tune in # Allegro moderato 8:07 favour was the clarinet, prized by the Romantics for its But in both the Sextet and the Octet Reinecke handily and the Finale has at its centre a lilting, waltz-like Abendsonne (Sunset) and builds it up to a climax of avoids any such shortcoming; his decades of experience considerable vitality, as we might expect from a $ Adagio molto 6:42 warm, blending tone and smooth legato. Weber, episode marked Moderato con grazia – the better to set Schumann and Brahms each wrote fine chamber works as an orchestral conductor gave him a thorough up the rambunctious coda. composer who retained his creative energy into % Finale: Allegro moderato, ma con spirito 5:36 for the clarinet, but comparable works including flute, knowledge of the wind instruments, and the music Reinecke’s cycle of sixteen piano pieces Von der advanced old age. oboe, horn or bassoon are scarce indeed. The return of invariably sounds well. In the Adagio of the Octet, for Wiege bis zum Grabe, Op. 202, (From the Cradle to the the woodwinds as equals in chamber music would have example, his skilful scoring yields a sonority at once Grave), was published in 1888. It was a resounding Fenwick Smith to await the revolutionary advances of the twentieth rich, noble and beautifully balanced. Though the skill Members of the Boston Symphony Orchestra century. with which he develops and manipulates his material is Carl Reinecke, the precocious child of a provincial sometimes more memorable than the tunes themselves, music teacher, was an accomplished violinist and violist; his mastery of form is secure, his harmonic vocabulary Fenwick Smith, Flute (Tracks 1-15) • Keisuke Wakao, Oboe (Tracks 1-4 and 13-15) he was also among Germany’s most prominent concert sophisticated if not innovative. Indeed the only mystery Thomas Martin, Clarinet (Tracks 1-4 and 13-15) • Craig Nordstrom, Clarinet (Tracks 1-4) pianists. He had started composing at the age of seven, attending these genial pieces is that they should have Jonathan Menkis, Horn (Tracks 1-4 and 13-15) • Daniel Katzen, Horn (Tracks 1-4) and continued throughout his long and enormously been so long and so widely overlooked, and that they Richard Ranti, Bassoon (Tracks 1-4 and 13-15) • Roland Small, Bassoon (Tracks 1-4) productive life, accumulating a catalogue of 288 opus should have had to wait most of a century for their first Hugh Hinton, Piano (Tracks 5-12) numbers in all genres. Truly the complete musician, recording. Reinecke also enjoyed a prominent and successful The opening phrases of the Octet show immediately career as a conductor. In 1860 he was appointed music the rich, warm, blended sound that can be achieved with director of the Gewandhaus Orchestra of Leipzig and pairs of bassoons, horns, and clarinets supporting the professor of piano and composition at the Conservatory, upper voices of oboe and flute – a sonority that even where he taught composers as varied as Bruch, Albéniz, Brahms might have envied. The first movement is in the 8.570777 23 8.570777 4 8.570777 570777bk Reinecke US 15/4/08 19:18 Page 5

Members of the Boston Symphony Orchestra Get this free download from Classicsonline! Carl Spohr: String Sextet: Scherzo: Moderato – Finale: Presto Copy this Promotion Code NaxD8hOhjoKh and go to www.classicsonline.com/mpkey/scher_main Fenwick Smith, Flute • Keisuke Wakao, Oboe • Thomas Martin, Clarinet • Craig Nordstrom, Clarinet Jonathan Menkis, Horn • Daniel Katzen, Horn • Richard Ranti, Bassoon REINECKE Downloading Instructions Roland Small, Bassoon • Hugh Hinton, Piano 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at http://www.classicsonline.com/UserLogIn/SignUp.aspx. From the Cradle to the Grave The Boston Symphony Orchestra members heard on this recording all take an active interest in chamber music, both 2 Enter the Promotion Code mentioned above. for its own sake and as a way of enhancing the skills required for orchestral performance at the highest level. In 3 On the next screen, click on “Add to My Downloads”. Wind Octet • Wind Sextet various configurations, they have made many appearances together in the orchestra’s prelude concerts at Symphony Hall and at Tanglewood, and in other chamber-music series throughout Massachusetts and in Japan. Fenwick Smith joined the orchestra in 1978 as Second Flute. He has several solo and chamber-music recordings Smith • Wakao • Martin • Nordstrom • Menkis to his credit, including works by Aaron Copland, Arthur Foote, Charles Koechlin, and Erwin Schulhoff. Keisuke Wakao, a native of Japan, has been Assistant Principal Oboe since 1990. Thomas Martin joined the orchestra as Katzen • Ranti • Small • Hinton Second Clarinet in 1984 and was named Assistant Principal in 1990; Craig Nordstrom has occupied the Bass Clarinet position since 1979. Jonathan Menkis has been Assistant Principal French Horn since 1984, Daniel Katzen has been Second Horn since 1979. Richard Ranti, who became a member of the Philadelphia Orchestra at the age of nineteen, joined the BSO as Assistant Principal Bassoon in 1989; Roland Small was Second Bassoon from 1975 to 2001. The principal players of the BSO have long been known to an international audience through their many tours and recordings as the Boston Symphony Chamber Players. This recording by the non-principal players of the Orchestra, demonstrates the depth and versatility of the BSO’s distinguished wind section, Pianist Hugh Hinton is a graduate of the New England Conservatory, where he was a student of Russell Sherman. As a winner of youth concerto competitions he has performed with the orchestras of Dallas, New Orleans, and Boston. Since 1991 he has been a member of the Boston Musica Viva, a leading contemporary-music ensemble.

8.570777 5 6 8.570777 570777bk Reinecke US 15/4/08 19:18 Page 5

Members of the Boston Symphony Orchestra Get this free download from Classicsonline! Carl Spohr: String Sextet: Scherzo: Moderato – Finale: Presto Copy this Promotion Code NaxD8hOhjoKh and go to www.classicsonline.com/mpkey/scher_main Fenwick Smith, Flute • Keisuke Wakao, Oboe • Thomas Martin, Clarinet • Craig Nordstrom, Clarinet Jonathan Menkis, Horn • Daniel Katzen, Horn • Richard Ranti, Bassoon REINECKE Downloading Instructions Roland Small, Bassoon • Hugh Hinton, Piano 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at http://www.classicsonline.com/UserLogIn/SignUp.aspx. From the Cradle to the Grave The Boston Symphony Orchestra members heard on this recording all take an active interest in chamber music, both 2 Enter the Promotion Code mentioned above. for its own sake and as a way of enhancing the skills required for orchestral performance at the highest level. In 3 On the next screen, click on “Add to My Downloads”. Wind Octet • Wind Sextet various configurations, they have made many appearances together in the orchestra’s prelude concerts at Symphony Hall and at Tanglewood, and in other chamber-music series throughout Massachusetts and in Japan. Fenwick Smith joined the orchestra in 1978 as Second Flute. He has several solo and chamber-music recordings Smith • Wakao • Martin • Nordstrom • Menkis to his credit, including works by Aaron Copland, Arthur Foote, Charles Koechlin, and Erwin Schulhoff. Keisuke Wakao, a native of Japan, has been Assistant Principal Oboe since 1990. Thomas Martin joined the orchestra as Katzen • Ranti • Small • Hinton Second Clarinet in 1984 and was named Assistant Principal in 1990; Craig Nordstrom has occupied the Bass Clarinet position since 1979. Jonathan Menkis has been Assistant Principal French Horn since 1984, Daniel Katzen has been Second Horn since 1979. Richard Ranti, who became a member of the Philadelphia Orchestra at the age of nineteen, joined the BSO as Assistant Principal Bassoon in 1989; Roland Small was Second Bassoon from 1975 to 2001. The principal players of the BSO have long been known to an international audience through their many tours and recordings as the Boston Symphony Chamber Players. This recording by the non-principal players of the Orchestra, demonstrates the depth and versatility of the BSO’s distinguished wind section, Pianist Hugh Hinton is a graduate of the New England Conservatory, where he was a student of Russell Sherman. As a winner of youth concerto competitions he has performed with the orchestras of Dallas, New Orleans, and Boston. Since 1991 he has been a member of the Boston Musica Viva, a leading contemporary-music ensemble.

8.570777 5 6 8.570777