Despite its title, Tchaikovsky’s Souvenir de Florence, composed in 1890, owes more to the Russian tradition than to the Italian school. Full of strong contrasts, very intense, and extremely demanding for the performers, it is one of the cornerstones of the string sextet repertoire. Nine years later, with a vigour rivalling that of Tchaikovsky’s work, Schoenberg composed another masterpiece of the genre, Verklärte Nacht. This dark and feverish musical tableau, inspired by Robert Dehmel’s poem of the same name, takes Romantic expression to its apogee. 
The Oistrakh Quartet, featuring four of today’s most outstanding Russian musicians, is perfectly at home in these two great works, recorded with the violist Daniel Austrich and the cellist Alexander Buzlov.

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PRD 250 424

PRAGUE WIND QUINTET

Jan RIEDLBAUCH, flute Flöte, Jurij LIKIN, oboe/Oboe/hautbois, Vlastimil MAREŠ, clarinet in E flat/Es-Klarinette/clarinette en mi bémol, Vladimíra KLÁNSKÁ, French horn/ Horn/cor, Miloš WICHTERLE, bassoon/Fagott/basson (4-6) CZECH SOLOISTS: Petr LOUENSKÝ, piccolo, Jiirí KREJÍ, English horn/Englisch Horn/cor anglais, Karel DONHAL, clarinet in A/A-Klarinette/petite clarinette, Zbynk CÍCHA, bass-clarinet/Baß-Klarinette/clarinette-basse, Luboš FAIT, double-bassoon/Kontrafagott/contrebasson, Petr DUDA, French horn/Horn/cor, Vladislav KOZDERKA, trumpet/Trompette/trompette, Václav FEREBAUER, trombone/Posaune

PRD 250 130

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BEETHOVEN STRING TRIO (Op.10)

Pavel HŮLA, violin/Violine/violon, Josef KLUSOŇ, viola/Bratsche/alto Michal KAŇKA, cello/Violoncello/violoncelle

KOCIAN QUARTET (Op.15)

Pavel HŮLA, Miloš ČERNÝ, violins/Violinen/violons, Zbyněk PAĎOUREK, viola/Bratsche/alto Václav BERNÁŠEK, cello/Violoncello/violoncelle

Brought together for the first time, this anthology of chamber music works ranges from the last flickers of neo-Germanic Romanticism to the nationalism of the early 20th century. Written by great Hungarian musician

PRD/DSD 250 237

It is difficult to think of Dohnányi as a contemporary of Kodály and Bártok – his music is so much of the earlier generation of Post-Romantics. He has developed from Brahms, after as Richard Strauss, instead of reacting against these inluences. Apart from his career as a concert pianist – one of the last of the great pianist-composers following the tradition from Liszt to Rachmaninov – he has held a wide variety of professional and administrative positions, ranging from his professor-ship of the Berlin Hochschule, in 1908, through the conductorship of the Budapest Philharmonic. He has served as director of the Budapest Conservatoire, director of the Hungarian Broadcasting Corporation, and, his last post, composer-in-redidence at Florida State University. During this final period, he has appeared all over the world as a pianist, and recorded some basic masterworks of his repertoire.

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CZECH NONET (op.22,44) :

Jirí SKUHRA, flute/Flöte/flûte, Aleš HUSTOLES, clarinet/KIarinette/clarinette, Jirí KREJ_Í, oboe/0boe/hautbois, Pavel LANGPAUL, bassoon/Fagott/basson, Vladimíra KLÁNSKÁ, french horn/Horn/cor, Jana HERAJNOVÁ, violin/Violine/violon (op.44), Jan NYKRÝN, viola/Bratsche/alto, Simona HENOVÁ, cello/Violoncello/violoncelle, Radovan HE, double-bass/Kontrabaß/contrebasse

PRAGUE WIND QUINTET (op.72) :

Jan RIEDLBAUCH, flute/Flöte/flûte, Jurij LIKIN, oboe/0boe/hautbois, Vlastimil MAREŠ, clarinet/Klarinette/clarinette, Miloš WICHTERLE, bassoon/Fagott/basson, Vladimíra KLÁNSKÁ, french horn/Horn/cor.

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Anthology dedicated to one of the great contemporary Czech composer, Jindřich Feld, successor and spiritual heir to Martinů through his non-conformism and his francophilia, humanistic having built a language „out of time“, on the basis of Stravinsky, Bartók and then Berg without erasing his atavistic Slavonic expressionism. He dedicated one of his last major works to the viola, the instrument of its youth, of which Feld knows the song and the nostalgic splendor. The viola main song is supported by a spacious and well worked orchestration.

PRD/DSD 250 239

Among the six cello concertos listed at their time, today only two are considered as authentic: the first in C, since 1961 and the other in D since 1953; both are well loved by the cellists, such as Michal Kaňka who express the post-baroque virtuoso style of the first and the pre-romantic volume of the other. As an interlude, a da chiesa symphony, unusual work with the name "the Philosopher" opens up horizons, unexpected from a Haydn in his thirties.

PRD/DSD 250 209

PRAGUE WIND QUINTET

Jan RIEDLBAUCH, flute/ Flöte /flûte, Jurij LIKIN, oboe/0boe/hautbois, Vlastimil MAREŠ, clarinet/Klarinette/clarinette, Miloš WICHTERLE, bassoon/Fagott/basson, Vladimíra KLÁNSKÁ, french horn/Horn/cor.

PRD 250 134