Südwestdeutsches Kammerorchester Pforzheim

Douglas Bostock

William Smethergell

Smethergell: Overture in 8 Parts, Op. 5 Nos. 1-6

Overture in 8 Parts, Op. 5 No. 1: I. Allegro spiritoso

Overture in 8 Parts, Op. 5 No. 1: II. Siciliano

Overture in 8 Parts, Op. 5 No. 1: III. Allegro

Overture in 8 Parts, Op. 5 No. 2: I. Allegro con spirito

Overture in 8 Parts, Op. 5 No. 2: II. Andantino

Overture in 8 Parts, Op. 5 No. 2: III. Presto

Overture in 8 Parts, Op. 5 No. 3: I. Allegretto

Overture in 8 Parts, Op. 5 No. 3: II. Andante

Overture in 8 Parts, Op. 5 No. 3: III. Allegro assai

Overture in 8 Parts, Op. 5 No. 4: I. Allegro

Overture in 8 Parts, Op. 5 No. 4: II. Andante grazioso

Overture in 8 Parts, Op. 5 No. 5: I. Allegro

Overture in 8 Parts, Op. 5 No. 5: II. Andante

Overture in 8 Parts, Op. 5 No. 5: III. Minuetto

Overture in 8 Parts, Op. 5 No. 6: I. Allegro moderato

Overture in 8 Parts, Op. 5 No. 6: II. Andante

Overture in 8 Parts, Op. 5 No. 6: III. Rondeau. Spiritoso

Tatjana Ruhland

Timo Handschuh

August Eberhard Müller

Müller: Flute Concertos Nos. 5, 7 & 8

Johannes Moesus

Franz Xaver Richter

Richter: 6 Symphonies, Op. 2

Vasco Dantas

Departure - Works by Mozart

Ethel Smyth

Susan Spain-Dunk

Vol. 3 in our successful series with Music for Strings by British Composers features works by four important Women Composers, some of whom initially were underappreciated and whose music only later was performed again and received proper recognition. However, the period from 1893 to 1934 was still an extremely favorable time for British women composers who wanted to present their works on their country’s concert stages inasmuch as they could count on support principally from Sir Henry Wood at the Proms and Dan Godfrey in Bournemouth. Ethel Smyth (familiar to our listening audience from cpo albums with works by her) and Susan Spain-Dunk in particular profited from this support. In addition, this release presents recording premieres of string compositions by Constance Warren and Ruth Gipps, in part in editions by the conductor Douglas Bostock himself. On Vol. 3 the Southwest German Chamber Orchestra of Pforzheim once again “explores the works with a lot of understanding for the particular personal style and with a fine sense of sound. Douglas Bostock knows how to bring out manifold colors from the orchestra and also, when needed, how to sharpen the tone and to place the sonority of the whole in the foreground” (klassik.com 4/2021 of Vol. 2).

British Music for Strings, Vol. 3

Lena Neudauer

Antonio Rosetti

Today Lena Neudauer is in great demand as a musician who delights an international public with the clarity, power, charm, and emotional depth of her violin playing. For this reason, following her successful interpretation of Beethoven’s Violin Concerto for cpo, we now are also very delighted to have obtained her services for the interpretation of three violin concertos by Antonio Rosetti: she has a special place in her heart for this charming composer, and her stupendous virtuosity enables her to rise to the challenge of the high technical demands of his concertos. Movements of exuberant freshness flow and overflow with performance joy, and these three concertos once again display Rosetti’s tendency to endow the first movements of his solo concertos with extensive orchestral introductions and richly diverse musical material. This is listening pleasure of a special kind!

Rosetti: 3 Violin Concertos

Nataša Veljković

Joseph Wölfl

Our previous release of three piano concertos by Joseph Wölfl featured the recording premieres of “mirthful pieces in the style of Mozart and Early Viennese Classicism" And our second new release with more concertos by Wölfl – this time congenially interpreted by Nastaša Veljkovic – shows just what magnificent music this composer working in Beethoven’s immediate musical environment was writing. As in Wölfl’s second piano concerto, so too in his third such work: he follows the tradition shaped by Mozart in matters of form. However, here a tendency toward formal trimming is already in evidence, a tendency that Wölfl pursued in his later London concertos and very decidedly so in the Concerto da camera WoO 97 for piano, flute, and strings. What we have in this work, which was published in London in 1810, is in every respect a reduced concerto, not only in the dimensions of the orchestral ensemble but also in length, though the overall formal scheme is retained. The solos in particular are more tightly constructed and more strongly integrated into the orchestral part – with the small ensemble size contributing its share here.

Wölfl: Piano Concertos

https://image.joox.com/JOOXcover/0/2d568dc60f312b77/300

Smethergell: Overture in 8 Parts, Op. 5 Nos. 1-6

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