Catalogue

Search

Sale

Place Order

Blog

Links

Contact Us

Home

What's New for Winter 2023-2024

Click on the links in all caps and boldface for more details and soundbites

The English violinist and composer WILLIAM HENRY REED (1875-1942) was one of Edward Elgar's closest friends and first biographer. He served as concertmaster of the London Symphony Orchestra and as leader of a prominent string quartet for more than two decades. He often collaborated with Elgar who asked him for advice much the same way Brahms had done with Joachim. In addition, Reed frequently premiered many of Elgar's works. Sadly, most of Reed's own fine compositions have been unjustly ignored and unpublished. His tone poem LEGENDE FOR STRING QUARTET is one such work which has remained unpublished until now. We warmly recommend it for concert.

VASILY (VASYL) BARVINSKY (1888-1963) was one of the most important Ukrainian composers of the 20th century. Like so many who fell a foul of the Stalinist Regime, he was imprisoned and forced to agree to the destruction of his manuscipts. His PIANO QUINTET IN G MINOR was among those destroyed. Upon his release from prison he worked to reconstruct it from memory. It was published as a score after his death as part of his collected works. A beautiful work in the late Romantic era style. It is full of emotion and appealing melodies. A must for the concert hall but also well suited for amateur ensembles.

The German composer and violinist CARL HILLMANN (1867-1955) was a violin teacher and member of the famous Museums Quartet of Frankfurt before emmigrating to the United States where he was a long time member of the Chicago Symphony Orchestra as well as a violin teacher in that city. He was attracted to the the combination of flute, violin and piano for which he wrote a number of charming works. His PASTORALE FOR FLUTE, VIOLIN & PIANO is easy to play and good to hear. It can be recommended for both concert performance as well as to home music makers. By 1800 FRANZ KROMMER (1759-1831) was without doubt the most popular composer of chamber music not only in Vienna but also in most of Europe. He was widely viewed as the worthy successor to Mozart and Haydn. His string quartets in particular were frequently performed on the same programs as theirs and were viewed as their equal. He was no mere imitator but had his own style which sounded like no one else. His engaging STRING QUARTET IN C MAJOR dating from around 1800 is a perfect example of what gained him fame and popularity. It makes a great concert choice and will give pleasure to home music makers as well

VASILY (VASYL) BARVINSKY (1888-1963) was one of few Ukrainian composers who was able to get his works published abroad and thus one of the few who gained an international reputation. Like so many who fell a foul of the Stalinist Regime, he was imprisoned and forced to agree to the destruction of his manuscipts.  Upon his release from prison he worked to reconstruct works from memory. His ELEGY FOR STRING QUARTET was published after his death as part of his collected works. Though published as part of a piano quintet, many scholars believe it was not meant to be part of the quintet but a separate work. A highly emotive work suitable as a tribute or an encore.

Most violinists but few others are familiar with the name LOUIS SPOHR (1784-1859) or his chamber music, But for the first half of the 19th century, Spohr was justly famous. Not one one leading violinists before the public, but also a sought after conductor whose works were regularly performed. Trained as a violinist, in later life, he taught himself the piano so that he could compose chamber music with that instrument. His PIANO QUINTET NO.2 IN D MAJOR is an example of the degree to which he succeeded. A work deserving concert but which can be recommended to good amateus as well.
BEETHOVEN needs no introduction or description of who he was and what he did. Almost everyone is familiar with his symphonies and concerti and chamber music fans, of course, know his string quartets and piano trios. But what about his piano quartets? Piano Quartets you ask--he didn't write any. Not so. He wrote three when he was 14. Few if any know these delightful, Mozartean works. His PIANO QUARTET NO.1 IN E FLAT MAJOR is good work for concert as home. GIOVANNI BATTISTA VIOTTI (1755-1824) is generally considered the best violin solist of the 18th century and the greatest violinist before Nicolo Paganini. His style of writing and melodic ideas were copied by Paganini. While his name is certainly known to most violinists because of his several violin concertos a few of which are still occasionally performed, the rest of his voluminous output has disappeared. A pity because there is so much appealing music His TWO TRIOS NOS.14 & 15 FOR 2 VIOLINS AND CELLO are excellent examples of his melodic gifts. They are good for concert and also for amateurs with accomplished violinists.
TOMAS BRETON (1850-1923) was one of Spain's leading light opera composers. After several years working as an opera conductor he sought further training in compositon and was able to study Rome, Vienna and Paris. But Spanish audiences did not become interested in chamber music until around 1900 when he turned his attention to the genre. His superb, very oriiginal and Spanish sounding STRING QUARTET NO.3 IN E MINOR should have entered the repertoire had it been published. It wasn't until now. We are pleased to present the world premiere of this outstanding work and warmly recommend it to professionals and amateurs alike. The Bavarian composer MAX BURGER (1856-1917) devoted himself to composing works which could be played by amateurs and advanced students ks. He spent his life teach young people music but made sure that the works he wrote were not hackneyed or prosaic. His JUGENDTRIO IN G MAJOR is just such a work. Though presenting no technical challenges and intended for advanced students or good amateur players, this work, nevertheless, is first rfate rate from start to finish. It features attractive melodies which are pleasant to play and appealing to hear. It is a work that is even strong enough to be brought into the concert hall.