IN B MINOR SONATA BAGATELLE WITHOUT TONALITY€¦ · ment of the latter’s C Major Fantasy, Op. 17. one other of Liszt’s works, “Apres une lecture du Dante” (the so-called

[ •» STEREOPHONIC 'RECORDING X STPL 512.150 ]

Illustration: After Lagrourd (1811-1886)—Musee: Bibliotheque de I'Opera— Photo: Riga I

SONATA

IN B MINOR

DANTE SONATA

HUNGARIAN

RHAPSODY N° 11

BAGATELLE WITHOUT TONALITY

STER EO VOX STEREOPHONIC RECORDING

This stereophonic record is a precision made product. With care it should last innumerable plays. To assure this we recommend the following: 1. Use only a pick-up specifically designed for stereophonic records; the stylus pressure should conform to the recommendations made by the manufacturer of your cartridge. 2. Your stylus should be frequently checked under a microscope; a worn-out needle will ruin your entire collection; no stylus is permanent. 3. Keep record surface dust-free; use a soft, lint-free, barely damp cloth to wipe the dust off; never wipe across the grooves. 4. For those with wide-range equipment it is advised to compensate for RIAA curve.

ii

STPL 512.150

Liszt Sonata in B Minor

Dante Sonata

Hungarian Rhapsody

No. 11

Bagatelle Without

Tonality

ALFRED BREN DEL,

Piano

ALFRED BRENDEL (born in 1931) was a pupil of the eminent teacher Edwin Fischer. His first recording for Vox (Mussorgsky’s “Pictures at an Exhibition,” coupl¬ ed with Balakirev’s “Islamey” and Stravinsky’s “Petrouchka” Suite PL 9140) was a,n immediate suc¬ cess. He was at once recognized by Harold Schonberg, Music Critic of

The New York Times, as “a pianist of the first rank.” His success has been sensational, whether at his London debut with his unforgettable interpretation of Bee¬ thoven’s “Hammerklavier” Sonata, or in Warsaw, with the Schoenberg Concerto (now on Vox PL 10.530).

His recordings to date include the first 5 volumes (in a series of 8) of the complete Beethoven piano music Vol. I — VBX 416 and Stereo SVBX 5416; Vol. II-VBX 417 and Stereo SVBX 5417; Vol. Ill-VBX 418 and Stereo SVBX 5 418; Vol. IV-VBX 419 and Stereo SVBX 5419; Vol. V - VBX 420 and Stereo SVBX 5420 and the Schubert Impromptus (PL 12.390 and Stereo STPL 512.390) which was voted Best Recording of the Month by HI I FI STEREO REVIEW, July 1964.

Occupying a central position in the romantic piano literature, Liszt’s B Minor Sonata not only summarizes the achievements of the master’s mature period, but also brings into focus problems and tendencies pre¬ valent in the romantic movement, and fuses them to¬ gether.

Following the development of the sonata as a musical form, one can say that up to and through Beethoven’s time, the construction of the sonata is still held to¬ gether by the strength and energy of the main theme, while the secondary themes exert a complementary action. But with Schubert, the picture changes and we find contrasting themes opposing one another in unre¬ solved tension — to a point where, at times, they seem worlds apart. In his B Minor Sonata Liszt joins the four movements of the traditional sonata together with its usual subdivisions (Exposition, Development, Re¬ capitulation, Coda). From Schubert, Liszt takes over the opposing thematic elements but, by using five principal themes, expands this device to almost mon¬ strous porportions. Not only that —he adheres to the monothemat.ic ground-plan of the “Wanderer Fantasy”

as well. Right in the beginning, the sonata discloses all of its fundamental motive-constituents: respect¬ ively, a repeated unison with its corresponding octave, the interval of the second and the seventh, and the descending scale. It can hardly be held accidental that Liszt’s greatest piano work reveals no programmatic basis. Here, poetic imagination is subserviant to tech¬ nical elaboration. The work was completed in 1853 and dedicated to Robert Schumann in acknowledge¬ ment of the latter’s C Major Fantasy, Op. 17.

Only one other of Liszt’s works, “Apres une lecture du Dante” (the so-called “Dante Sonata”) is linked with the word “sonata”. As indicated in the subtitle, “Fantasia quasi sonata”, the work’s relationship to the sonata form is only approximate, for the effects are achieved more through the boldly connected epi¬ sodes than through any inner coherence of form. This piece was written in 1837 after Liszt had been impress¬ ed by a reading of the Divine Comedy. It concludes the second (Italian) volume of “Annees de Pelerinage”.

Right up until the end of his life, Liszt never lost the urge to explore new realms of musical thought and expression. Characteristic of most of his later works is the dissolution of tonality. Tonally conceived pas¬ sages, insofar as they function that way at all, appear and disappear like islands in the mist. An extreme case is the Bagatelle without Tonality (1885), so en¬ titled by the author himself. This piece was first pub¬ lished by Istvan Szelenyi in 1956. Characterized by a ghostly, fluctuating atmosphere, the piece ends in a chain of diminished seventh-chords. This composition belongs to the group of Mephisto Vaises and Vaises Oubliees.

The Hungarian Rhapsodies tower above the rest of the virtuoso-music of the 19th century. The fact that they are not held in higher esteem today may be due to a type of concert-going public which is over¬ sophisticated in its attitude. Also, the fact that Liszt often confused Hungarian folklore with Gypsy music may still be a rub in certain circles. Or it may be that some of these pieces have been rendered ineptly, in inexact versions, or, perhaps, simply played to death. One hopes that the future will reserve a more realistic attitude towards the Rhapsodies. Combining glowing temperament, ironic wit, and manifold tone-coloring, they remain a refreshing source of enjoyment and entertainment.

Notes by Alfred Brendel

Library of Congress Catalogue Card Number: R 64-1473/4

Vox Productions, Inc., New York, N.Y. 10017 TMK(S) ® Vox Productions, Inc. • Marca(s) Registrada(s) PRINTED IN U.S.A.

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ALFRED BRENDEL, PIANO High Fidelity Magazine— Harris Goldsmith “Brendel’s performances throughout are extremely brilliant and discerning.” Bartok: Sonata for Two Pianos and Percussion. Charlotte Zelka, Second Piano (also Music for Celeste, Per¬ cussion and Strings, Conducted by Reinhardt). PL 9600 Liszt: Piano Concerti No. 1 in E Flat Major; No. 2 in A Major. Pro Musica Orchestra, Vienna. Michael Gielen, Conductor. PL 10.420

STEREO STPL 510.420

Liszt: Opera Transcriptions. PL 10.580

Mozart: Concerto for Two Pianos in E Flat Major, K.365. Sonata for Two Pianos in D Major, K. 448. Walter Klien, Second Piano. Orchestra of the Vienna Volksoper. Paul Angerer, Conductor. PL 10.780

STEREO STPL 510.780

Liszt: Six Paganini Etudes; Three Petrarch Sonnets; Tarantilla.

PL 10.800

Brahms: Hungarian Dances (Com¬ plete). Walter Klien, Second Piano.

PL 9640

Beethoven: Piano Concerto No. 4 in G Major, Opus 58; 10 Variations on a Salieri Air. Vienna Pro Musica Or¬ chestra. Heinz Walberg, Conductor.

PL 11.360 STEREO STPL 511.360

Beethoven: Piano Concerto No. 3 in C Minor, Opus 37. Vienna Pro Musica Orchestra. Heinz Walberg, Conductor.


Beethoven: Piano and Wind Quintet in E Flat, Opus 16; Mozart: Piano and Wind Quintet in E Flat Major, K. 452. Hungarian Woodwind Ensemble.


Schubert: Wanderer Fantasy; Schu- bert-Liszt: Wanderer Fantasy. Or¬ chestra of the Vienna Volksoper. Michael Gielen, Conductor.


Dvorak: Slavonic Dances, Opus 46 and 72. Walter Klien, Second Piano.


Beethoven: Piano Concerto No. 5 in E Flat Major, Opus 73; “Emperor” Fantasy, Opus 77. Vienna Pro Musica Orchestra. Zubin Mehta, Conductor.


Mozart: Piano Concerto No. 17 in G Major, K.453; Piano Concerto No. 27 in B Flat Major, K. 595. Orchestra of the Vienna Volksoper. Paul Angerer, Conductor. PL 11.260

STEREO STPL 511.260

Mozart: Piano Concerto in C Major, K. 503; Rondo for Piano and Orches¬ tra, K. 382. Vienna Pro Musica Or¬ chestra. Paul Angerer, Conductor.


Schubert: Moments Musicaux; Three Pieces, Op. Posthumous. PL 12.140

STEREO STPL 512.140

Mozart: Piano Concerto in D Flat Major, K.482; Haydn: Piano Concerto in D Major. Vienna Chamber Orches¬ tra. Paul Angerer, Conductor.


Schubert: Impromptus Opus 90 & Opus 142. PL 12.390

STEREO STPL 512.390

Liszt: Totentanz, Malediction, Meph- isto Waltz No. 1-Die Traurige Gon- dole-Czardas Macabre; Umsterm. Vienna Symphony., Michael Gielen Conductor. PL 11.030

STEREO STPL 511.030

DAVID GLAZER, CLARINET HiFi Stereo Review

“The performances by David Glazer —are all one could ask for in interpretive under¬ standing, technical finish and perfect blending.” Hummel: Quartet for Clarinet & Strings in E Flat Major; Weber: Quin¬ tet for Clarinet & Strings in B Flat Major, Op. 34. The Kohon Quartet of New York University. DL 960

STEREO STDL 500.960 Stamitz: Concerto No. 3 in B Major for Clarinet & Orchestra; Weber: Concertino in C Minor for Clarinet & Orchestra, Op. 26; Rossini: Introduc¬ tion, Theme and Variations for Clari¬ net & Orchestra. Innsbruck Symphony Orchestra. Robert Wagner, Conductor.

DL 1130 STEREO STDL 501.130

JASCHA HORENSTEIN, CONDUCTOR Dallas Morning News “Jascha Horenstein offers his hand picked instrumentalists a devoted direction while they in return achieve an elegant spirit in performance. There is plenty here for many hours of study and pleasure.” Mozart: Requiem in D Minor, K.626. Wilma Lipp, Soprano. Elizabeth Hoen- gen, Alto. Murray Dickie, Tenor. Ludwig Weber, Bass. Singverein Der Gesellschaft Der Musikfreunde. Pro Musica Symphony, Vienna. DL 270 Haydn: Symphony No. 101 in D Major “Clock." Symphony No. 104 in D Major "London.” Pro Musica Orches¬ tra, Vienna. PL 9330

STPL 59330

Beethoven: Symphony No. 9 in D Minor, Opus 125. Wilma Lipp, So¬ prano. Elizabeth Hoengen, Alto. Julius Patzak, Tenor. Otto Wiener, Bass. Singverein Der Gesellschaft Der Mus¬ ikfreunde. Pro Musica Symphony, Vienna. PL 10.000 Brahms: Symphony No. 1 in C Minor, Opus 68. Bamberg Symphony.


Brahms: Symphony No. 3 in F Major, Opus 90; Variations on a Theme by Haydn, Opus 56a. Bamberg Symphony.


Liszt: A Faust Symphony, Mephisto Waltz, No. 1; Wagner: Faust Overture. Southwest German Radio Orchestra & Chorus. Franz Koch, Tenor.


Mozart: Vesperae Solemnes de Con- fessore in C Major, K. 339; Mass in C Major, K. 317 “Coronation.” Wilma Lipp, Soprano. Christa Ludwig, Alto. Murray Dickie, Tenor. Paul Bender, Bass. Vienna Oratorio Chorus and Pro Musica Symphony. PL 10.260

STEREO STPL 510.260 Schonberg. Transfigured Night, Opus 4; Chamber Symphony in E Flat, Opus 9. Southwest German Radio Orchestra.


HUNGARIAN STRING QUARTET Audio Engineering Magazine —Edward Tatnall Canby

“The Hungarian String Quar¬ tet musicians, coming from Haydn’s own background, are the finest players of these Haydn Quartets I have yet to hear.” Mozart: String Quartets No. 17 in B Flat Major, K. 458 and No. 19 in C Major, K.475 "Dissonant.”


Haydn: String Quartets No. 67 in D Major, Op. 65 No. 5, “Lark" and No. 82 in F Major, Op. 77 No. 2.


Schubert: String Quartet No. 14 in D Minor, D. 810 “Death and the Maiden." PL 12.520

STEREO STPL 512.520

OTTO KLEMPERER New York Times— Ross Parmenter “—reflects the concentration of the directors creative intel¬ ligence and his interpretation has the tension and interest of a performance that is thoroughly thought out and masterfully led.” Bach: Brandenburg Concerti, Nos. 1 through 6. Pro Musica Orchestra.

PL 6180/6200/6220

Beethoven: Symphony No. 6 in F Major, Opus 68 “Pastoral." Vienna Symphony. PL 6960

Beethoven: Missa Solemnis, Opus 123. Ilona Steingruber, Soprano. Elsa Schuerhoff, Alto. Ernst Majkut, Ten¬ or. Otto Wiener, Bass. Akademiechor. Vienna Symphony Orchestra.

PL 11.430

Bruckner: Symphony No. 4 in E Flat Major, "Romantic.” Vienna Symphony.

PL 11.200

Mozart: Symphony No. 25 in C Major, K. 183; Symphony No. 36 in C Major, K. 425 “Linz.” Pro Musica Orchestra.

PL 11.820

Mendelssohn: Symphony No. 3 in A Minor “Scottish.” Vienna Symphony.

PL 11.840

Schubert: Symphony No. 4 in C Minor D. 417 “Tragic." Lamoureux Orches¬ tra. Mendelssohn: Symphony No. 4 in A Major, Opus 90 “Italian.” Vienna Symphony. PL 11.880

KOHON STRING QUARTET OF NEW YORK UNIVERSITY Saturday Review of Literature—Irving Kolodin

“The Quartet commands the razor sharp intonations and precise rhythmic control to give Berg’s patterns their due in both indispensable respects.” Berg: Quartet, Opus 3; Schonberg: Quartet No. 2 (Ramor Quartet). Maria Escribano, Soprano. DL 730

STEREO STDL 500.730

Hummel: Clarinet Quartet in E Flat Major; Weber: Clarinet Quintet in B Flat Major, Opus 34. David Glazer, Clarinet. DL 960

STEREO STDL 500.960

Ives: String Quartets No. 1 (1896) & No. 2 (1907-1913). DL 1120

STEREO STDL 501.120

Dvorak: String Quartet in A Minor, B. 45; String Quartet in F Major, B. 179 “American.” DL 16.360

STEREO STDL 516.360

SUSANNE LAUTENBACHER, VIOLIN The Gramophone

“Her skill and facility —is astounding.” Beethoven: Concerto in D for Violin & Orchestra, Op. 61. Westfalisches Symphony Orchestra. Hubert Reichert, Conductor; Beethoven Romances Nos. 1 & 2, Op. 50. Badische Staatska- pelle. Curt Cremer, Conductor.


Bach: Concerto for 2 Violins in D Minor. Dieter Vorholz, Second Violin;

ach: Concerto for Violin in E Major; concerto for Vioiin in A Minor. Mainz Chamber Orchestra. Gunter Kehr, Conductor. [*L]]-;j40

STPL 511.540

MONTREAL BACH CHOIR (GEORGE LITTLE, DIRECTOR) American Record Guide—

John W. Barker

“The sudden outpouring of releases for Vox by Mr. Little and his group is certainly a marvelous windfall from what might seem to be an unexpected source—Vox brings out too many fine re¬ cordings for us to say glibly that this is the best of the year, but it is certainly one of the best, and I recommend it with delight.” Jannequin: Chansons. DL 710

STEREO STDL 500.710

“Mon Canada"-French Canadian Folk Songs. PL 11.860

STEREO STDL 511.850 Byrd: Masses For Four and Five Voices. DL 880

STEREO STDL 500.880

Music of The Spanish Renaissance. (Music by Victoria, Milan, Achitta, Ponce, and others). Consort of Viols (Otto Joachim, Director). DL 890

STEREO STDL 500.890

Music from the Court and Chapel of Henry VIII. (Music of Henry VIII, Tallis, Redford, Tye, and others). Con¬ sort of Viols (Otto Joachim, Director).


Victoria: Missa Alma Redemptoris and Eight Motets. DL 1090

e-ream dmi nm nQn

GUIOMAR NOVAES, PIANO New York Times— Raymond Ericson

“Miss Novaes is at the top of her form —during the last 26 measures of the romance, her playing must be as beautiful as anything on records.” Chopin: Recital (Fantasy, Waltz, Noc¬ turne, Scherzo, etc.). PL 7810

Chopin: Mazurkas. PL 7920

Chopin: Waltzes (Complete). PL 8170

Mozart: Piano Concerto No. 9 in E Flat Major, K. 271; Mozart: Piano Concerto No. 20 in D Minor, K. 466. Pro Musica Orchestra, Vienna. Hans Swarowsky, Conductor. PL 8430

Grieg: Piano Concerto in A Minor, Opus 16; De Falla: Nights in The Gardens of Spain. Pro Musica Or¬ chestra, Vienna. Hans Swarowsky, Conductor. PL 8520

Beethoven: Piano Concerto No. 4 in G Major, Opus 58; Piano Sonata No. 14 in C Sharp Minor, Opus 27 No. 2 “Moonlight.” Pro Musica Orchestra, Vienna. Hans Swarowsky, Conductor.

PL 8530

Mozart: Piano Sonatas K. 283, K. 331, K. 545; Rondo, K. 511. PL 9080

Chopin: Nocturnes (Complete). PL 9632

Schumann: Etudes Symphoniques, Opus 13. PL 10.170

Debussy: Preludes, Book 1. PL 10.180

Chopin: Piano Concerto No. 1 in E Minor, Opus 11. Bamberg Symphony. Jonel Perlea, Conductor. PL 10.710

STEREO STPL 510.710

Beethoven: Piano Concerto No. 5 in E Flat Major, Opus 73 “Emperor.” Bamberg Symphony. Jonel Perlea, Conductor. PL 11.930

STEREO STPL 511.930

Chopin: Etudes, Op. 10 & 25. PL 10.930

Chopin: Preludes, Opus 28; Sonata No. 2 in B Flat Major, Opus 35.

PL 10.940

Schumann: Carnival Opus 9; Scenes from Childhood, Opus 16; Papilions, Opus 2. PL 11.160

Schumann: Piano Concerto in A Minor, Opus 54. Pro Musica Orches¬ tra. Hans Swarowsky, Conductor: Chopin: Piano Concerto No. 2 in F Minor, Opus 21. Vienna Symphony. Otto Klemperor, Conductor.

PL 11.380

The Art of Guiomar Novaes: Volume I (Music of Chopin). PL 15.000

The Art of Guiomar Novaes: Volume II (Music of Bach, Gluck, Brahms, Pinto, etc.) PL 15.010

Beethoven: Sonata No. 21 in C Major Opus 53 “Waldstein.” Schumann; Arabeske, Nachtstuecke, Romance No. 2, The Prophet Bird. PL 11.990

STEREO STPL 511.990

Mendelssohn: Songs Without Words.


HERMANN PREY, BARITONE New York Times— Raymond Ericson

“The German baritone- shows himself worthy of such distinguished predecessors as Gerhard Hiisch, Hans Hot¬ ter and Dietrich Fischer-

Dieskau.” Schubert: “Winterreise" Opus 89. (Karl Engel, Piano). LDL 502

STEREO SLDL 5502

Loewe: Ballades. (Gunther Weissen- born, Piano). LDL 510

STEREO SLDL 5510

AARON ROSAND, VIOLIN Saturday Review of Literature—Irving Kolodin

“The suave tone, the polished execution and graceful rhyth¬ mic accent provide a measure of distinction to his perform¬ ances that few other per¬ formers his age can match — and there are not many better in any age.” Chausson: Poeme for Violin & Orches¬ tra, Op. 25; Ravel: Tzigane for Violin & Orchestra; Berlioz: Reverie & Ca¬ price for Violin & Orchestra, Op. 8; Saint-Saens: Havanaise for Violin & Orchestra; Introduction & Rondo Capriccioso, Op. 28. Southwest Ger¬ man Radio Orchestra. Rolf Reinhardt, Conductor. PL 10.470

STEREO STPL 510.470

Sibelius: Six Humoresques for Violin, Op. 87b, 89; Sarasate: Zigeuner- weisen & Carmen Fantasy; Tchaikov¬ sky: Serenade Melancolique. South¬ west German Radio Orchestra. Tibor Szoke, Conductor. PL 11.600

STEREO STPL 511.600

Lalo: Symphonie Espagnole; Saint- Saens: Concerto No. 3 for Violin & Orchestra. Southwest German Radio Orchestra. Tibor Szoke, Conductor.

PL 11.590 STEREO 511.590

Beethoven: Sonata No. 9 in A major, Op. 47 “Kreutzer”; Sonata No. 5 in F major, Op. 24 “Spring.” PL 11.340

STEREO STPL 511.340

GYORGY SANDOR, PIANO New York Times

“As a pupil of the late Bela Bartok, Mr. Sandor became— and remains —one of the composers eminent and sty¬ listically assured exponents. Principally the pianist’s play¬ ing is noted for its rhythmic vitality, nervous energy, strong tone and complete avoidance of fussy manner¬ isms.” Brahms: Piano Concerto No. 2 in B Flat, Op. 83. Southwest German Radio Orchestra. Rolf Reinhardt, Conductor.


Schumann: Carnaval, Op. 9; Kreisler- iana, Op. 16; Toccata, Op. 7.

PL 11.630

Bartok: Concerto No. 1 for Piano & Orchestra; Rhapsody for Piano, Op. 1. Southwest German Radio Orchestra. Rolf Reinhardt, Conductor.


Bartok: Concerti Nos. 2 and 3 for Piano & Orchestra. Vienna Pro Musica Orchestra. Michael Gielen, Conductor.

PL. 11.490 STEREO STPL 511.490

THE TELEMANN SOCIETY ORCHESTRA & CHORUS (RICHARD SCHULZE, DIRECTOR) Pittsburgh Press- William Allan

“—for the connoisseur and the curious, the touch of authenticity, the “War-like” tones—sometimes seeming al¬ most Oriental, sometimes like bagpipes — score a major re¬ cording victory for the Tele¬ mann Society.” English Country Dancing Master (In¬ cluding: 8 Playford Dances, Rings O'Marlowe, 3 Country Dances, Hole in The Wall, and others). DL 470

STEREO STDL 500.470

Musique De Joye-A Country Wedding Festival from 17th Century France by Jean Hotteterre. DL 570

STEREO STDL 500.570

Telemann: Concerto for Three Trum¬ pets, Two Oboes & String Orchestra in D Major; Concerto in F Minor for Oboe and Orchestra; Suite in A Minor for Recorder & String Orchestra. Theodora Schulze, Recorder & Oboe.


Handel: Royal Fireworks Music (Orig¬ inal Instrumentation); Woodcock: Concerto for Sopranino Recorder & Orchestra in C Major; Concerto for Oboe & Orchestra in E Minor. Theo¬ dora Schulze, Oboe 8: Recorder.


Psalms of David (Handel, Schiitz, Sweelinck). DL 760

STEREO STDL 500.760

Heritage of the Baroque, Vol. II (Music of Hotteterre, Le Romain, Bernier, Loeillet, Caix, D’Hervelois, Leclair) PL 14.000

STEREO STPL 514.000

Gibbons: Fantasies, Anthems, Canti¬ cles, Madrigals, etc. PL 14.010

STEREO STPL 514.010

Handel: Water Music (Complete). PL 14.040

STEREO STPL 514.040

Schiitz: “Seven Last Words of Christ”; 11 Metrical Psalms. PL 14.060

STEREO STPL 514.060

Handel: Concerto Grosso, Op. 6, No. 1; Oboe Concerto in G Minor; Can¬ tata “Cuopra Tal Volta II Cielo”; Oboe Concerto in B flat; Sonata in F, Op. 1, No. 11; Duo in F for Recorder.


Heritage of the Baroque, Vol. !. (In¬ cluding works by M. Praetorius, Bux¬ tehude, Sammartini, Gabrieli, and others). PL 16.260

STEREO STPL 516.260

CAMILLO WANAUSEK, FLUTE The Gramophone

“Wanausek plays smoothly and with a most beautiful tone.” Boccherini: Concerto in D for Flute & Orchestra, Op. 27; Pergolesi: Con¬ certo in G for Flute & Strings. Vienna Pro Musica. Charles Adler, Conductor; Gluck: Concerto in G for Flute & Orchestra. Vienna Pro Musica. Michael Gielen, Conductor. PL 9440

Haydn: Concerto for Flute 8: Orches¬ tra; Leclair: Concerto in C for Flute & Strings; Pergolesi: Concerto in G for Flute & Strings. Vienna Pro Mu¬ sica Orchestra. Charles Adler, Con¬ ductor. PL 10.150

Michael Haydn: Concerto for Flute & Strings in D Major. Orchester Der Wiener Musik Gesellschaft. Anton Heiller, Conductor; Stamitz: Concerto for Flute & Strings in G Major; Tele¬ mann: Concerto for Flute & Strings in D Major; Pro Musica Orchestra, Vienna. Anton Heiller, Conductor.


Mozart: Flute Quartets (Complete). Europa Quartet. DL 830

STEREO STDL 500.830

Mozart: Concerto for Flute & Harp in C, K. 299. Adagio & Rondo for Glass Harmonica, K. 617; Andante for Flute & Orchestra, C Major, K. 315; Vienna Pro Musica Orchestra. Hans Swarowsky. PL 8550

Documents

IN B MINOR SONATA BAGATELLE WITHOUT TONALITY€¦ · ment of the latter’s C Major Fantasy, Op. 17. one other of Liszt’s works, “Apres une lecture du Dante” (the so-called