The fruitful partnership between the Alpha label, the Queen Elisabeth Music Chapel and the Palazzetto Bru Zane continues with this set of chamber music by Anton Reicha, performed by the musicians of the Chapel, young talents of an exceptionally high standard, ready and willing to take up the challenge of this music. A key figure of the early nineteenth century, this Czech composer who became a naturalised French citizen did not leave his contemporaries indifferent. Both his music and his theoretical writings set zealous partisans against fierce detractors. This three-part album, assembling pieces from different genres and periods, gives an insight into the richness of the composer's extremely prolific output of chamber music, whose originality can still fascinate us nearly two centuries after his death: it illustrates the diversity of the instrumental genres he tackled (sonatas, fugues, études and variations for piano; piano trio, string quartet, string quintet) and a compositional art characterised at once by perfect mastery - as one would expect from someone trained by Haydn in Vienna between 1802 and 1808 - and by the greatest originality.
8 IV. Finale. Lento Un Poco Andante - Allegro - Various Performers
The fruitful partnership between the Alpha label, the Queen Elisabeth Music Chapel and the Palazzetto Bru Zane continues with this set of chamber music by Anton Reicha, performed by the musicians of the Chapel, young talents of an exceptionally high standard, ready and willing to take up the challenge of this music. A key figure of the early nineteenth century, this Czech composer who became a naturalised French citizen did not leave his contemporaries indifferent. Both his music and his theoretical writings set zealous partisans against fierce detractors. This three-part album, assembling pieces from different genres and periods, gives an insight into the richness of the composer's extremely prolific output of chamber music, whose originality can still fascinate us nearly two centuries after his death: it illustrates the diversity of the instrumental genres he tackled (sonatas, fugues, études and variations for piano; piano trio, string quartet, string quintet) and a compositional art characterised at once by perfect mastery - as one would expect from someone trained by Haydn in Vienna between 1802 and 1808 - and by the greatest originality.
