Beyond Beethoven Works for natural horn & fortepiano
Ferdinand Ries (1784–1838) Grande Sonate in F major, Op. 34 Anneke Sco natural horn 1. Larghe o – Allegro moderato [13:20] 2. Andante [2:57] Steven Devine fortepiano 3. Rondo: Allegro [7:44]
Lucien Joseph Raoux cor solo, c.1810 Friedrich Eugen Thürner (1785–1827) Johann Peter Fritz Viennese fortepiano, 1815 (Richard Burne collec on) Grande Sonate in E major, Op. 29 4. Allegro [12:14] 5. Largo molto [3:20] 6. Rondo: Allegro moderato [7:03]
Friedrich Starke (1774–1835) Adagio und Rondo, Op. 105 7. Poco Adagio [3:35] 8. Rondo poco Allegro [9:04]
Hendrik Coenraad Steup (1778–1827) Sonate in E flat major, Op. 11 9. Allegro brillante [8:21] 10. “Les Adieux”: Andante espressivo [5:17] 11. Rondo Allegro [4:48]
About Anneke Sco & Steven Devine: Total playing me [77:51] ‘[Anneke Sco ] produces some wonderfully plangent tone colours [...] Her playing, and that of Steven Devine, has a natural musicality that is par cularly no ceable in the way they both apply an easy flexibility to the flow of the music.’ Early Music Review Beyond Beethoven performance. Despite this ‘rushed job’, or perhaps, given Beethoven’s ability to If horn players learn one piece on the natural extemporise, as a result of this element of horn it is invariably Beethoven’s Sonata in spontaneity, the premiere was successful F major, Op. 17 for piano and horn. This and the two musicians went on to perform work was premiered in 1800, at a me when this work a number of mes. the fame of the horn soloist, Giovanni Punto (1746–1803), far outshone that of Beethoven had rushed into the world the first the composer, with one reviewer of an complete sonata for piano and horn, but this early performance asking ‘Who is this was not going to be the sole specimen for Herr Bethover [sic]?’. Not foreseeing the long; many composers followed suit. significance this short work was to have Regre ably, this sizeable outpouring of for future genera ons of horn players, new repertoire that grew during the first Beethoven appears to have only just three decades of the nineteenth century begun composing the day before its has been somewhat neglected by more first performance. This was not wholly recent horn players. There are several unusual for him, as Ferdinand Ries recounts: reasons for the Beethoven Sonata to have enjoyed popularity: for horn players Beethoven almost always postponed the coming to the natural horn for the first composi on of the majority of his works me it has the advantage of being extremely due by a certain date un l the very last well known, it is the key of F, the modern moment. He had, for instance, promised horn’s home key – a tonality which is familiar Ponto [sic], the famous horn player, that and far less challenging than the remoter he would compose a sonata for piano tonali es of other crooks – and, of course, and horn and would play it with him at a concert given by Ponto. The concert with despite the a tudes of Beethoven’s the sonata was announced, but the audience in 1800 (‘Who is this Herr sonata was not yet started. On the day Bethover?’), it is temp ng to patronise before the performance Beethoven began audiences by assuming their tastes are the work and had it ready for the concert. dictated by their familiarity with the names of the composers in their programme. Beethoven, a highly regarded improviser, may have s ll been in the process of The composi ons performed on Beyond comple ng the composi on during its first Beethoven represent a small selec on of this explosion in composi ons for piano and horn with Johann Georg Albrechtsberger (1736– Given the uncertainty as to exactly when It is to be presumed that Ries also conceived duo. The four works have been chosen 1809) and piano with Beethoven, also serving Ries arrived in Vienna it is hard to be sure the sonata with one or other of the Schuncke partly due to the connec ons between the as Beethoven’s secretary and copyist. that his famous account of Beethoven brothers in mind. composers and Beethoven and his Op. 17 Beethoven secured a number of useful composing his Op. 17 sonata at the last Sonata and partly to demonstrate how appointments for Ries including temporary minute was drawn from Ries’s first-hand Carl Czerny (1791–1857), a fellow student of Beethoven’s peers exploited the variety roles as pianist to Count Johann Georg von experience, but undoubtedly Ries would Beethoven, was to applaud Ries as a and versa lity of the natural horn, Browne in 1802 and Prince Lichnowsky in have been very much aware of this ‘dis nguished’ writer for the horn, going on dispelling enduring modern myths about 1805. Ries repaid Beethoven’s generosity by groundbreaking work. Ries’s own Grande to describe the instrument as ‘especially the instrument offering ‘limited op ons’, becoming a significant interpreter and Sonate in F major, Op. 34 was composed adapted for calm sustained notes, for tender op ons that lead composers to be advocate of Beethoven’s piano works. in 1811 whilst Ries was in Kassel, the newly or melancholy ideas, or for an expression of ‘rather conserva ve and some mes formed seat of the King of Westphalia, energy and grandeur, in powerful, single embarrassed’ (David Smith, interview The ramifica ons of Bonn being under French Jérôme Bonaparte. A few years earlier blasts.’ Czerny’s descrip on feels highly with Richard Watkins, 14 March 2019, rule meant that in 1805 Ries was liable for Beethoven and Ries had had a minor appropriate as a descrip on of the Ries www.prestomusic.com). conscrip on in the French army, and so he falling out regarding the Kapellmeister Sonata in general. In many ways the Ries set off to join his regiment in Koblenz job at this court; Beethoven had ini ally could be seen as the sonata Beethoven may Pianist, cellist and composer Ferdinand Ries travelling via Prague, Dresden and Leipzig. been offered the post and was minded to have wri en had he given the composi onal was born in Beethoven’s home town of Having lost an eye in a childhood injury he accept it, only deciding against it when process more me. This can be seen most Bonn on the 28 November 1784. His father, was rejected for service and at this juncture his aristocra c patrons in Vienna offered clearly in the atmospheric ‘Andante’: could Franz Anton Ries, was a violinist who had began a peripate c career moving from him a pension to remain. Ries was later the rumbling bass notes in the piano be a had a notable career in Vienna before Koblenz to Paris (1806–1808), Vienna (1808), offered the post which led to Beethoven reference to the rumbling double basses in se ling in Bonn where he had been one and Bonn (1809–1811), followed by travels suspec ng, erroneously, subterfuge on the ‘Marcia funebre’ of Beethoven’s ‘Eroica’ of Beethoven’s early teachers. Ferdinand through Kassel, Hamburg, Copenhagen and the part of his old student. Ries ul mately Symphony? Ries had a strong connec on Ries ini ally studied violin and piano with Stockholm, arriving in St Petersburg just as lost the opportunity and perhaps his visit with this work and the horn players involved, his father, taking cello lessons from Bernhard Napoleon marched on Russia. In 1813 Ries to Kassel in 1811 was an a empt to having allowed himself to be ridiculed in Romberg (1767–1841) from the age of five. se led in London where he became a mainstay achieve some form of employment at his recollec ons of the first rehearsal of The French seizure of Bonn in 1794, which of the city’s musical life, performing to the court there. this symphony when he, mistakingly, dissolved the electoral court, meant that great acclaim and acquiring significant roles berated the second horn player for his the normal pathways of employment for such as directorship of the influen al Whilst in Kassel Ries composed two significant inability to count bars’ rests: young musicians had been closed down. London Philharmonic Society. It was not works for horn, the Grand Sonata Op. 34 During the first rehearsal of this symphony, A er a short period of composi on study un l 1824 that Ries, with his Bri sh wife and a Concerto for two horns which was which went appallingly, the horn player did premiered on the 23 February 1811 by the in 1801 with Peter Winter (1754–1825) in and children, returned to his na ve land, come in correctly. I was standing next to Munich, Ries departed Bonn for Vienna. firstly se ling in Bad Godesberg then in brothers Go ried and Michael Schuncke Beethoven and believing the entry wrong Once in Vienna Ries studied composi on Frankfurt am Main. (1777–1861 and 1778–1821 respec vely). said: “That damned horn player! Can't he count? – It sounds terrible!” I believe I In 1804 Thürner travelled to Vienna, where became a travelling musician; first he headed his Op.29? The composi on was premiered in was very close indeed to having my ears he was deeply influenced by Beethoven and to northern Germany (Bad Doberan and the a concert given on 18 October 1812 by boxed – Beethoven was a long me in his composi onal style. A er this sojourn island of Rügen), then travelled west through Friedrich Ernst Fesca. The Allgemeine forgiving me. Thürner had been honour-bound to enter Eastern Friesland to Amsterdam where he Musikalische Zeitung reviewed both this the services of Empress Marie Fedorovna, spent several months. He then headed to performance as well as the Sonata’s Oboist, pianist and composer Friedrich Eugen who had supported his studies. However, Vienna via the Rhine to the Alsace region, eventual publica on by Peters in 1818. Thürner was born in Montbéliard on 9 the Empress dismissed this obliga on and Zurich and Stu gart. Once in Vienna, Notably the work was dedicated to one December 1785. Thürner is likely to have Thürner entered first the services of a despite his acknowledged talents, he faced Charles Fesca ‘from Vienna’, presumably been named a er the local Duke, Frederick II merchant called Bernard in Offenbach, a series of professional and personal a rela ve of Friedrich Ernst Fesca from Eugene of Wür emberg, employer of his then became principal oboe of the disappointments which appear to have Kassel. In live performance the sonata was Viennese-born father, flau st Anton Thurner. Braunschweigische Ho apelle. The forma on led to Thürner’s first mental and physical described as ‘elaborated with a lot of art Orphaned at the age of four, young Thurner in 1807 of the Kingdom of Westphalia led breakdown. On his recovery he was advised and diligence; but more for the connoisseur was sent to Kassel to be raised by a family to the dissolu on of this ensemble and to leave Vienna and the memories of his than for the general public’. The later review friend. Ini ally studying keyboard, the Thürner’s return to his hometown of Kassel, breakdown behind, so in 1817 Thürner of the publica on was more open-minded seven-year-old Thürner made his public a city that had been subsumed by the newly travelled via Prague and Leipzig to Frankfurt as to the appeal of this work, sta ng that debut performing Mozart piano concertos formed kingdom, where he joined the where he joined the opera orchestra under Thürner ‘gives the ar st and dile ante on and was praised for his extraordinary skill ensemble of the new King of Westphalia, the direc on of Spohr. Thürner’s mental both instruments the opportunity […] to and vivid expression. Wishing to follow in Jérôme Bonaparte. This was a frui ul me health con nued to be an issue during arouse pleasure through pleasant, cheerful his father's footsteps he began to study the for Thurner with opportuni es to perform his employment in Frankfurt, and by 1820 melodies, and also to shine through imposing flute. He quickly mastered the instrument, alongside violinist Louis Spohr (1784–1859) it was again suggested that a change of passages.’ The AMZ goes on to praise the however at the age of twelve turned to the and clarine st Johann Simon Hermstedt scene, this me to Amsterdam, may be ‘fast, interes ng Allegro in E major which oboe, claiming that the he would only gain (1778–1846) and to work alongside notable beneficial to his sanity. Given his happy forms the first movement’, the subsequent happiness through achieving greatness on musicians in the new court orchestra such memories of his earlier stay in Amsterdam, ‘Largo molto in E minor, which serves at the such a difficult instrument (something many as the Go ried and Michael Schuncke, Thürner willingly agreed to this, but shortly same me as an introduc on to the Rondo’ horn players may very well recognise!). violinist Friedrich Ernst Fesca (1789–1826) a er his arrival in the city he was commi ed no ng the ‘excellent effect’ of the ‘swelling Thürner received support for his ongoing and flau st Karl Keller (1784–1855). on a permanent basis to an asylum, passing tones of the horn and the tremolo studies from the Duke of Wür emberg’s away there on 2 March 1827. accompaniment in the piano’. The Rondo in daughter, Empress Marie Fedorovna and A er the Ba le of Leipzig in 1813 the E major is deemed to have ‘a friendly theme’ in 1801 moved to Munich to study oboe Kingdom of Westphalia was dissolved and Thürner composed his Grande Sonate, which ‘remains the mo f of the very with Friedrich Ramm (1744–1813) and the Electorate of Hesse reinstated, leading Op. 29 during the Westphalian period he successful work’. As with the Ries Sonata composi on with Franz Danzi (1763–1826). to the departure of many musicians including spent in Kassel. Given Ries’s presence in it is hard to be certain which of the Kassel It was during this period that his first Thürner. In a similar way to Ries and many Kassel the previous year, could Ries’s horn playing Schuncke brothers this Sonata composi ons were performed in public. other musicians of this period, Thürner Op. 34 have inspired Thürner to compose was wri en for, as the performer is only iden fied by his surname. The AMZ describes styles, first restrained, second fugal, He wrote a considerable number of arouse these reac ons composers play with the horn part as virtuosic, poin ng to the where a heavenly theme in sixteenth composi ons including at least two works the sense of space and distance, as in Berlioz’s par cularly large horn range as well as the notes was developed in the most for horn – a currently lost Grand Sonata in use of an on-stage cor anglais and the replying sonata ‘requiring a skilled pianist’, going wonderful way, and third in chamber F and the Adagio und Rondo, Op. 105 (or silent) off-stage oboe in the ‘Scène aux on to recommend that any effort pianists style in which Beethoven knew how to (published c.1821). champs’ in his Symphonie fantas que (1833). put in to learning this work ‘will be amply combine the greatest intricacies in During the 1820s a number of solo works for projec ng his special mood. repaid by making a very brilliant impression The drama c, brooding ‘Adagio’ introduc on, horn, including Starke’s Adagio und Rondo, in the ensemble’. Starke brought along with his horn and exploi ng tremolos in the piano and incorporate muted passages to create these offered to play Beethoven’s horn sonata chroma c passages in both horn and distant echoes. It is notable that these muted Punto was not the only horn player with in F with him, which Beethoven accepted piano, quickly gives way to an expansive passages o en occur a er tumultuous stormy whom Beethoven played his Op. 17 Sonata. with pleasure. When it was discovered cantabile melody. Starke incorporates a passages, thus further evoking a sense of Horn player, pianist and composer Friedrich that the piano was a half-step too low, typical cor basse trope of arpeggio passages, peace and calm. As early-nineteenth-century Starke was born in Elsterwerda on 29 March Starke offered to play the horn down a calls and echoes that hint at effects to horn mutes were o en made out of 1774. A er military service and musical half-step; but Beethoven said that the come later in this work. The poco allegro papier-mâché, few, if any survive, so one roles in various parts of Saxony he se led effect would be spoiled and that he would ‘Rondo’ theme perhaps bears a passing was made specially for this recording. Its in Vienna in around 1814 where he rather play it up a half step. resemblance to one of the themes in the design was based on descrip ons found in studied with Albrechstberger. Starke was Overture to Rossini’s L’Italiana in Algeri (1813). nineteenth-century texts such as those by on familiar terms with Beethoven to the It was begun and Beethoven played it in a Bernsdorf (1856), Fröhlich (1811), and Wirth extent that the two were regular dining wondrously beau ful way; the passages Throughout this work Starke calls for special (1877), describing such mutes as consis ng rolled along so clear and fine that one partners. Ludwig Nohl recollec on of one mbral effects from both the horn and the of a six-inch diameter ball with an open tube couldn’t believe at all that he was such meal were recounted by Alexander transposing. Beethoven also had praise piano. Horn calls, grounded in the neck which fits into the bell of the horn. Wheelock Thayer: for Starke because he had never heard instrument’s hun ng origins, which evoke ‘the great outdoors’ are a familiar trope. Starke published his Wiener Pianoforte Schule, Starke was o en invited to a meal and the sonata performed with shading; he The early-nineteenth century saw a fashion Op. 108 at about the same me as the Adagio a er it o en had the soul-sa sfying found the pp especially fine. The whole experience of hearing Beethoven thing was a heavenly breakfast. for a different horn call effect, that of the und Rondo. In this work he explores the improvise. The most remarkable and Ranz des vaches or Kuhreihen, the Swiss mbral effects possible on Viennese pianos pleasant me was an invita on to a In 1812, thanks to Beethoven’s endorsement, alphorn calls. These calls are more pastoral, of the me. Starke’s piano had five pedals breakfast which for Starke was a real Starke joined the orchestra of the Kärntnertor less blood sport. Unlike the hun ng horn and throughout the Adagio und Rondo he spiritual breakfast... A er breakfast Theatre and in this capacity was fourth horn calls, which serve to spur the listener on includes direc ons to alternate between the which consisted of very good coffee (and for the premiere of Beethoven’s revised to ac on, these calls evoke space, tranquility, second pedal, the Fortezug or forte pedal which Beethoven made himself in a Fidelio in 1814. For a short period around awe and the sublime. Think, for example, and the fi h pedal, the Pianissimozug, at glass machine), Starke requested a 1815 he was also tasked with teaching the of the final movement of Beethoven’s mes leading to a blurring affect. In the breakfast for his heart and mind, and piano to Beethoven’s troubled nephew Karl. ‘Pastoral’ Symphony (1808). In order to tempestuous passage prior to the muted Beethoven improvised in three different echo passage Starke apparently contradicts being a prolific publisher of music and, in same tle. It is followed by a cheerful briefly re red in 1824. In 1810 Aders was his own advice from the Pianoforte Schule addi on to this, running a thriving business ‘Rondo Allegro’. witness to the bap sm of Steup’s daughter, in which he recommends that the Fortezug selling musical instruments. In an 1814 ar cle Frederique Caroline Steup, sugges ng the is used only in slow passages with rela vely exploring the status of music making in The background to this piece is unknown, dedica on to be more than mere networking. sta c harmony and especially recommends Holland the Allgemeine Musikalische Zeitung as is the horn player whom Steup had in Could the Beethoven quotes in Steup’s Op. 11 it for ‘pastoral, tender and melancholic arias, refer to Steup as both a composer (whose mind for the work. Since the heyday of be a reference to Ader’s links to the world of romances, religious composi ons and all piano concertos ‘have not yet become Willem Spandau (1741–1806) the Dutch Ries, Bonn and, therefore, Beethoven? the soulful passages where the song flows well known’) and as a performer (‘Steup musical scene boasted a number of slowly and seldom falls out of modula on.’ also has a great deal of skill and a pleasant excellent horn players. One candidate is © 2021 Anneke Sco Whilst this descrip on does not seem manner of performance’). Nicolaas Josef Potdevin (1798 –1866), immediately appropriate for this turbulent principal horn of the Felix Meri s and the passage, such a descrip on is perfect for Much of Steup’s composi onal output Stadsschouwburg in Amsterdam. His the alphorn-like passage which follows, comprised solo works for piano, sona nas Caecilia obituary asserted that ‘[t]he tone as does Starke’s descrip on of the for violin and piano and small-scale that Potdevin managed to elicit from his Pianissimozug as recommended for chamber music for piano with winds and instrument was rightly called enchan ng. ‘distant play, or echo.’ The Fritz fortepiano strings. Steup’s Sonata Op. 11 was published A cleaner, fuller, richer song, more silky used in this recording has four pedals under his own imprint in 1820. The sound was difficult to wish for; it was (1. una corda, 2. moderator, 3. sustain fron spiece includes a nota bene informing not really blowing; it was singing!’ and 4. the Janissary or Turkish percussion us that ‘the six first bars recall the theme of drum and bells) plus a knee lever of a Sonata by Beethoven’, the sonata in Another inspira on behind the composi on (bassoon or Fago mechanism). ques on being none other than the Op. 17 might be deduced from the dedica on of horn sonata, but now in E-flat, a darker key this work to one ‘Ch. Aders’. Carl Aders Pianist, composer, publisher and salesman than original F major. The opening fanfare (1780–1846) was a German merchant and Heinrich Conrad Steup was born on 3 nods to Beethoven’s brazen introduc on, art collector who se led in London in February 1778, in Dillenburg, part of the then follows the recognisable first subject 1811 where he counted ar s c luminaries Landgraviate of Hesse-Kassel. Li le is from the Op. 17. Steup swi ly moves on, such as William Blake, William Wordsworth, known of his early life before his arrival developing the theme in his own unique Charles and Mary Lamb and Samuel Taylor in Amsterdam in 1801 where he par cipated fashion. Throughout the first movement Coleridge as part of his circle. Ferdinand in many aspects of music making, flashes of Beethovenian references Ries also corresponded with and dedicated undertaking what many modern musicians appear. The tender ‘Andan no espressivo’ works to Aders; and his brother, Joseph Ries, would recognise as a ‘por olio career’ slow movement is sub tled ‘Les Adieux’, worked for Aders in London. It is reported encompassing performing, composi on though it has no connec on with that Aders had a castle at Bad Godesberg, and a great deal of entrepreneurship; Beethoven’s piano sonata bearing the the town close to Bonn to which Ries Anneke Sco (natural horn) Anneke enjoys collabora ng with a wide group of musicians and is a key member of a number Anneke Sco is a leading exponent of of chamber music ensembles including historical horn playing. Her work takes her nineteenth century period brass ensemble around the globe and throughout centuries The Prince Regent’s Band, the Harmoniemusik of music with a repertoire incorpora ng ensemble Boxwood & Brass, historic wind music and instruments from the late- ensemble Syrinx and ensembleF2. She seventeenth century through to the regularly works with leading period present day. Anneke is principal horn of a keyboardists including Steven Devine, Neal number of interna onally renowned period Peres da Costa, Geoffrey Govier and Kathryn instrument ensembles including Sir John Cok as well as period harpist Frances Kelly. Eliot Gardiner's Orchestre Révolu onnaire et Roman que and The English Baroque Anneke’s research deeply influences her Soloists, ensemble Pygmalion, The Orchestra teaching and she has recently published a of the Sixteen, the Irish Baroque Orchestra, natural horn method based upon the sources and the Dunedin Consort. She is similarly that she draws upon in her playing. She is in great demand as a guest principal horn, the historical horn tutor at Trinity Laban regularly appearing with orchestras and Conservatoire of Music and Dance, the ensembles worldwide. Royal Welsh College of Music and Drama, and at the Centre for Early Music Anneke enjoys an interna onal solo career Performance Research at the University and discography embracing three centuries of Birmingham. of virtuosic horn works. Her exper se in baroque horn repertoire ensures that she In 2018 Anneke was appointed a Fellow of is frequently to be heard performing the the Royal Academy of Music (FRAM) and famous obligato arias of composers such in 2019 was received the Interna onal as Bach and Handel as well as solo concertos Horn Society’s Punto Award. from this period. Her cri cally acclaimed solo recordings also include three discs www.annekesco .com focussing on the music of the leading
Parisian horn player of the nineteenth o century, Jaques-François Gallay. y: John Cr aph ogr Phot Steven Devine (fortepiano) of the Age of Enlightenment, Classical Opera/ The Mozar sts, and The Gonzaga Band Steven Devine enjoys a busy career as a among others. He has recorded over forty music director and keyboard player working discs with many ar sts and ensembles and with some of the finest musicians. his solo recordings are widely acclaimed. His recording of Bach’s Goldberg Varia ons He made his London conduc ng debut in (Chandos Records) was described by 2002 at the Royal Albert Hall and is now a Gramophone magazine as ‘among the best’ regular performer there – including making and his recording of Bach’s ‘Italian Concerto’ his Proms direc ng debut in August 2007 was voted Classic FM’s Connoisseur’s with the Orchestra of the Age of choice. Steven recently completed his Enlightenment. He has conducted the survey of the harpsichord works of Mozart Fes val Orchestra in every major Jean-Philippe Rameau (Resonus), with concert hall in the UK and also across The Observer recommending ‘You won’t Switzerland. He has been Conductor and find a be er exponent than Devine’. Master of Ceremonies for Raymond Further releases for Resonus include the Gubbay’s ‘Carols by Candlelight’ in London Well-Tempered Clavier by J.S. Bach. and across the UK for many years. Steven is Music Director for New Chamber Opera He teaches harpsichord and fortepiano at in Oxford and with them has performed Trinity Laban Conservatoire in London and repertoire from Cavalli to Rossini. For the is Early Keyboard Consultant to the Royal Dar ngton Fes val Opera he has conducted Birmingham Conservatoire and Royal Handel’s Orlando and Purcell’s Dido and Welsh College of Music and Drama. Aeneas. He is currently conductor and Ar s c Advisor for the English Haydn www.stevendevine.com Fes val in Bridgnorth. Steven works regularly with the Norwegian Wind Ensemble, Trondheim Barokk, the Victoria Baroque Players (BC, Canada) and Arion Baroque Ensemble (Montreal).
As a much sought-a er keyboard player he has regular posi ons with the Orchestra More titles from Resonus Classics Instruments: Lucien Joseph Raoux cor solo, c.1810. Songs of Love, War and Melancholy: Papier-mâché mute, hand made by Anneke Sco . Operatic Fantasias by Gallay Johann Peter Fritz Viennese fortepiano, 1815 (Richard Burne collec on) Lucy Crowe (soprano), Anneke Scott (horn), Pitch: A=430 Steven Devine (piano) RES10153 With thanks to Daniel da Souza, José-Manuel Serrano, Christopher Larkin, the Royal Welsh 'Anneke Scott’s performance on the natural horn College of Music and Drama, and the Finchcocks Charity for Musical Educa on. is little short of miraculous' MusicWeb International Sources:
Ferdinand Ries, Grande Sonate in F major, Op. 34, (Hamburg: Jean Auguste Böhme, c.1820): Le cor mélodique: Mélodies, Vocalises & Chants Baden State Library Music Collec on/Badische Landesbibliothek Musiksammlung (Karlsruhe, Germany). by Gounod, Meifred & Gallay Anneke Scott (horn) & Steven Devine (piano) Friedrich Eugen Thurner, Grande Sonate in E major, Op. 29, (Leipzig: C.F.Peters, c.1816): RES10228 Baden State Library Music Collec on/Badische Landesbibliothek Musiksammlung (Karlsruhe, Germany) ‘The authentic sounds of both instruments, Friedrich Starke, Adagio und Rondo, Op. 105, (Vienna: Fredrich Starke, c.1821): played by these accomplished specialists, Belluno Civic Library/Belluno Biblioteca Civica (Belluno, Italy). are very evocative’ Early Music Review Hendrik Coenraad Steup, Sonate in E flat major, Op. 11, (Amsterdam: H.C, Steup, c.1820): Royal Danish Library/Det Kongelige Bibliotek (Copenhagen, Denmark).
© 2021 Resonus Limited è 2021 Anneke Scott under exclusive licence to Resonus Limited Recorded in Waterdown House, Tunbridge Wells, Kent on 28–31 October 2019 Producer: Claude Maury Engineer: John Croft Keyboard Technician: Edmund Pickering Executive producer: Adam Binks Recorded at 24-bit/96kHz resolution Cover image: Detail from Johann Peter Fritz Viennese fortepiano, 1815 (Richard Burnett Collection)
RESONUS LIMITED – UK
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