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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
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Ludwig van Beethoven, Composer - Tobias Koch, Piano, MainArtist, AssociatedPerformer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Ludwig van Beethoven, Composer - Tobias Koch, Piano, MainArtist, AssociatedPerformer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Ludwig van Beethoven, Composer - Tobias Koch, Piano, MainArtist, AssociatedPerformer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Robert Schumann, Composer - Tobias Koch, Piano, MainArtist, AssociatedPerformer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Robert Schumann, Composer - Tobias Koch, Piano, MainArtist, AssociatedPerformer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Robert Schumann, Composer - Tobias Koch, Piano, MainArtist, AssociatedPerformer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Robert Schumann, Composer - Tobias Koch, Piano, MainArtist, AssociatedPerformer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Robert Schumann, Composer - Tobias Koch, Piano, MainArtist, AssociatedPerformer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Robert Schumann, Composer - Tobias Koch, Piano, MainArtist, AssociatedPerformer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Robert Schumann, Composer - Tobias Koch, Piano, MainArtist, AssociatedPerformer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Robert Schumann, Composer - Tobias Koch, Piano, MainArtist, AssociatedPerformer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Tobias Koch, Piano, MainArtist, AssociatedPerformer - Giselher Klebe, Composer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Tobias Koch, Piano, MainArtist, AssociatedPerformer - Giselher Klebe, Composer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Tobias Koch, Piano, MainArtist, AssociatedPerformer - Giselher Klebe, Composer - Přemysl Vojta, Horn, MainArtist, AssociatedPerformer
℗ 2016 WDR
Album review
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
About the album
- 1 disc(s) - 14 track(s)
- Total length: 01:06:28
- Main artists: Premysl Vojta Tobias Koch
- Composer: Various Composers
- Label: Deutsche Grammophon GmbH, Berlin
- Genre: Classical
© 2018 Deutsche Grammophon GmbH, Berlin ℗ 2016 a Production of Westdeutscher Rundfunk Cologne/Germany
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