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Uwe Grodd, Pettman Ensemble – Beethoven: Grand Symphonies, Vol. 2 (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:14:40 minutes | 1,28 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naxos
Unless one lived in a major European centre with an orchestra, the opportunity to hear large-scale works by the great composers of the age was well-nigh impossible. The insatiable demand for new chamber versions of famed orchestral works saw Hummel arranging Beethoven’s Symphonies No. 2 and No. 6 “Pastoral” not long after the great composer’s death. Hummel approached his task with great care, bringing a fresh perspective to the works in his sensitive and compelling chamber music configurations. Hummel’s arrangements of Symphonies No. 1 and No. 3 “Eroica” can be heard on the first volume of this very interesting series.
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Uwe Grodd & Gould Piano Trio – Beethoven: Symphonies Nos. 1 & 3 (Arr. J. N. Hummel for Flute & Piano Trio) (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 01:14:47 minutes | 1,21 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naxos
Beethoven and Hummel’s relationship was one of fractious beginnings, but ultimately true friendship. Between 1825 and 1835 Hummel arranged his contemporary’s Symphonies Nos. 1–7 and Septet, Op. 20 for his favoured combination of pianoforte, flute, violin and violoncello. Beethoven would surely not have objected—arrangements were, after all, a perfectly normal part of the 19th-century musical landscape. To audiences today his symphonies need little introduction but, thanks to the musical sensitivity and sheer brilliance of Hummel’s arrangements, it is possible to experience the thrill of hearing these extraordinary pieces afresh.
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Uwe Grodd – Hofmann: Flute Concertos, Vol. 3 (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:52 minutes | 1,12 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Naxos
Leopold Hofmann was among the most prominent Viennese composers of his generation, his music performed all over Europe. Hofmanns radiant flute concertos follow the conventions of the day with superlative elegance and a deceptive facility. The solo writing has a lightness, grace and agility perfectly suited to the instruments strengths, particularly in the lovely and often rhapsodic slow movements. It is hardly surprising that musicians and audiences found these concertos so beguiling, and they have lost none of their magic today.
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