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MOZART, Smithsonian Chamber Orchestra

Orchestral and chamber works

Galeria okładek

ZamknijGaleria okładek

Serenade in D Major, k 204/213a; Concertone in C Major, K190/186E; Sinfonia Concertante in E-flat Major , K364/320d; Concerto in A Major for basset clarinet, K622. Jaap Schröder & Marilyn McDonald, violins; Marilyn McDonald, viola by Gennaro Gagliano (Naples, 1762); Lawrence McDonald, basset clarinet, with the Smithsonian Chamber Orchestra, directed by Jaap Schröder. Recorded 1986. Chamber Music. Quartet in D Major for flute and strings, K285; Quintet in E-flat Major for horn and strings, K407/386c; Quartet in G Minor for fortepiano and strings, K478; Quartet in E-flat Major for fortepiano and strings, K478; Trio in E-flat Major, K498, Kegelstatt; Eine kleine Nachtmusik, K525; Ein musikalischer Spaß, K522; Quintet in A Major for clarinet and strings K581; Quartet in D Major, K499, Hoffmeister. Members of the Smithson String Quartet Jaap Schröder, violin by the Brothers Amati (Cremona, ca. 1620); Marilyn McDonald, violin from the shop of Nicoló Amati (Cremona, ca. 1670); Judson Griffin, viola by Gennaro Gagliano (Naples, 1762); Kenneth Slowik, violoncello by J. B. Tononi (Bologna, 1740) James Weaver, fortepiano by Jean-Louis Dulcken (Munich, ca. 1789); Christopher Krueger, flute; Lawrence McDonald, clarinet; Lowell Greer & R. J. Kelley, horn; Melissa Graybeal, viola; Richard Myron, doublebass. Recorded 1985-86.
  • Smithsonian Chamber Orchestra - orchestra
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129.00 PLN

6 LP-140G:

na instrumentach z epoki!

The rubric “Smithsonian” has become known as a tacit guarantee of authenticity regarding effort, in the case of research, and conclusion when the results are published. Nonetheless, this enterprising project should not be viewed primarily as a scholastic exercise. The musical instruments largely belong to the Smithsonian’s valuable collection of antiques and authenticated facsimiles. Of greater importance, they have been entrusted to gifted musicians who are eminently qualified to apply specialist knowledge of the techniques and artistry prevalent in the eighteenth century. We are, therefore, privileged to hear Mozart’s music played in as close a manner as possible to that which the maestro heard and performed himself. And the 64-page accompanying booklet is most informatively researched and written by Smithson Quartet cellist Kenneth Slowik. Stereophile Magazine, January 1988