Antonín Rejcha (1770 - 1836) - Grand quatuor concertant in E flat major, Op.104 for piano, flute, bassoon and cello 32:58
1. Adagio. Allegro 11:23
2. Andante 7:53
3. Minuetto. Allegro assai 4:28
4. Finale. Allegro 9:05
Antonín Rejcha - Sonata in E flat major, Op.43 for piano 14:32
5. Allegro vivace 6:34
6. Andantino 3:12
7. Allegro scherzando 4:41
Antonín Rejcha - Quintet in E flat major, Op.100, No.3 for flute, oboe, clarinet, horn and bassoon 31:52
8. Andante. Allegro poco vivo 12:55
9. Lento 6:45
10. Minuetto. Allegro scherzo 2:42
11. Allegro 9:16
Total time 79:32
Adam Skoumal - piano (1-7)
Jan Ostrý - flute (1-4)
Michael Verner - bassoon (1-4)
Jaroslav Matějka - cello (1-4)
Prague Wind Quintet (8-11)
Jan Riedlbauch - flute
Jurij Likin - oboe
Vlastimil Mareš - clarinet
Vladimíra Klánská - horn
Lumír Vaněk - bassoon
It was mainly during his Viennese period, that Rejcha devoted himself to compositions for solo piano. Piano Sonata in E flat major, Op.43 originated in this very time, in the year 1804. It shows the influence of the Viennese Classicism, mostly of Haydn's works, but also that of Beethoven's. At the same time, Rejcha's mature mastery, endeavouring for an individual expression, is felt in it. Rejcha's works for wind instruments achieved exceptional recognition. He devoted himself to them even earlier, but in his Paris period he reached perfection. The wind instruments, particularly woodwinds had gone through a flourishing period in France of the first half of the 19th century. Most of them had undergone some constructional alterations at the time, which changed their sound and technical possibilities. The experiments of the instrument makers in France found their reflection and analogue in Rejcha's works. He wrote a number of compositions for different, often atypical combinations of these instruments. The wind quintets belong to his peak works and they are considered to be the earliest of its kind. He published four volumes of wind quintets in all. Quintet in E flat major, Op. 100, No. 3 for flute, oboe, clarinet, horn and bassoon comes from the third collection which was published in Paris in 1819. One of the examples of Rejcha's works for unusual combinations of instruments is his, Grand quatuor concertant in E flat major, Op. 104 for piano, flute, cello, and bassoon. It was published in Paris in 1824. It was written with a great sense for taking advantage of all technical and expressional possibilities of the instruments. Rejcha implements here his innovating compositional and intrumentational theories (his most important theoretical writings were published at the time of this quartet's composition). In its general expression, the work already anticipates Romanticism in music.
(Studio Matouš 1995)
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