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Klassiek - Verschenen op 23 juni 2017 | Jube Classic

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Klassiek - Verschenen op 12 februari 2016 | Honens

Hi-Res Booklet
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Klassiek - Verschenen op 1 november 2013 | Sony Classical

Hi-Res Booklet
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Klassiek - Verschenen op 9 maart 2018 | Sony Classical

Hi-Res Booklet
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Klassiek - Verschenen op 1 november 2019 | Sony Classical

Hi-Res Booklet
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Klassiek - Verschenen op 1 november 2019 | Sony Classical

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Klassiek - Verschenen op 31 juli 2015 | Universal Music Group International

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Klassiek - Verschenen op 14 juni 2019 | Decca Music Group Ltd.

Hi-Res Booklet
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Symfonische muziek - Verschenen op 18 juli 2014 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 26 februari 2016 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 8 april 2015 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 11 oktober 2013 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Vocale muziek (wereldlijk en religieus) - Verschenen op 6 december 2019 | Es-Dur

Hi-Res
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Klassiek - Verschenen op 10 oktober 2014 | audite Musikproduktion

Hi-Res Booklet
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Klassiek - Verschenen op 4 december 2015 | Universal Music Group International

Hi-Res
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Klassiek - Verschenen op 17 juni 2016 | CAvi-music

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 13 februari 2015 | Sony Classical

Hi-Res Booklet
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Klassiek - Verschenen op 13 februari 2015 | Sony Classical

Hi-Res
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Klassiek - Verschenen op 23 februari 2018 | CAvi-music

Hi-Res Booklet
Přemysl Vojta doesn’t play “a” horn here, but rather several very different horns. He starts out with a natural horn from 1833 for Beethoven’s Sonata − for anyone familiar with this work being played on a modern chromatic instrument, the surprise will be massive! Much due to the fact that most of the notes, unavailable in the natural scale of the primitive instrument, are generated by changing the position of the right hand in the bell, creating a deaf, nasal sound in addition to the natural notes playing at full sonority. The result is quite unique, but foreseen by Beethoven when writing his Sonata; it’s as if two different instruments were playing, exchanging notes within a single phrase. For Schumann, Vojta decided on a chromatic Viennese horn from the end of the 19th century, then a modern instrument from the famous German manufacturer Alexander. A modern horn he keeps for the ever-intriguing Alterations of the Sonata for Piano, Op. 27/2 by Ludwig van Beethoven into Sonata for Horn and Piano − yes, that’s the complete title! – by contemporary German composer Giselher Klebe (1925-2009). If you take into consideration that he approached the Moonlight Sonata with the aim to produce not a simple re-instrumentation, which wouldn’t be of particular interest, but a rewriting in which each moment is recognisably based on Beethoven while still being Klebe, then you can only marvel at the highly virtuosic accomplishment this represents. On the pianos, Tobias Koch transitions from an 1821 Graf for Beethoven’s Sonata to an 1839 Erard for all Schumann’s pieces and ends up on a Steinway for the Klebe/Beethoven part. In other words, the listener will be transported through an impressive range of sounds! © SM/Qobuz