Boxwood & Brass - Music for a Prussian Salon: Franz Tausch in Context (2016) [Hi-Res]

Tracklist

01. 13 pièces en quatuor, Op. 22, Suite No. 1: I. Allegro molto
02. 13 pièces en quatuor, Op. 22, Suite No. 1: II. Adagio
03. 13 pièces en quatuor, Op. 22, Suite No. 1: III. Allegro
04. 13 pièces en quatuor, Op. 22, Suite No. 1: IV. Menuetto & Trio
05. 13 pièces en quatuor, Op. 22, Suite No. 1: V. Andante moderato
06. 13 pièces en quatuor, Op. 22, Suite No. 1: VI. Rondo. Allegro
07. Three Quartets for Clarinets & Horns: I. Adagio
08. Three Quartets for Clarinets & Horns: II. Adagio
09. Three Quartets for Clarinets & Horns: III. Allegro
10. Concertante in B-Flat Major, Op. 3
11. Clarinet Quintet No. 3, Op. 23: II. Adagio
12. 13 pièces en quatuor, Op. 22, Suite No. 2: I. Adagio
13. 13 pièces en quatuor, Op. 22, Suite No. 2: II. Allemande
14. 13 pièces en quatuor, Op. 22, Suite No. 2: III. Andante
15. 13 pièces en quatuor, Op. 22, Suite No. 2: IV. Polonaise & Trio
16. 13 pièces en quatuor, Op. 22, Suite No. 2: V. Andante moderato
17. 13 pièces en quatuor, Op. 22, Suite No. 2: VI. Adagio
18. 13 pièces en quatuor, Op. 22, Suite No. 2: VII. Allegro molto


Music for a Prussian Salon illustrates the musical legacy of the influential but now-forgotten clarinettist Franz Tausch (1762–1817). Tausch’s extraordinary career stretched from his training as a child prodigy at the heart of the Mannheim court through to post-Napoleonic Berlin, where he trained some of the most famous wind-players of the early-Romantic period. His life and music encapsulate the transition between the Classical and Romantic eras in a unique and fascinating way.

Tausch’s exquisitely intimate 13 Pièces en Quatuor comprise a lexicon of compositional style during his lifetime. Music for a Prussian Salon places them alongside works by Mannheim School founder Johann Stamitz and two of Tausch’s most famous clarinet pupils, Heinrich Baermann and Bernhard Henrik Crusell. The colours of historical clarinets, horns and bassoon create a rich sound-world in repertoire that charts the development of instrumental technique from the simplicity of Stamitz’s Quartets to the virtuoso excesses of Crusell’s operatic Concert-Trio. Baermann’s much-loved Adagio is heard in a new version made specially for the ensemble – a 21st-century creation, yet one that reflects the historical tradition of harmonie-arrangement.

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