Franz Krommer: Oboenkonzert op.52 (CD)

Franz Krommer (1759-1831)

Oboenkonzert op.52

Mit weiteren Werken von: Joseph Haydn (1732-1809) , Wolfgang Amadeus Mozart (1756-1791)

Mitwirkende: Frantisek Hantak, Milos Kopecky, Karel Vacek, Brno Radio Chamber Orchestra, Prague Symphony Orchestra, Czech Philharmonic Orchestra, Harry Newstone, Vaclav Smetacek, Antonin Devaty

CD

CD (Compact Disc)

Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.

Franz Krommer (1759-1831): Oboenkonzert op.52, CD

umgehend lieferbar, Bestand beim Lieferanten vorhanden

EUR 12,99*

Versandkosten

+Haydn: Oboenkonzert C-Dur
+Mozart: Sinfonia concertante KV 297b für Oboe, Klarinette, Fagott, Horn & Orchester

Künstler: Frantisek Hantak, Milos Kopecky, Karel Vacek, Brno Radio Chamber Orchestra, Prague SO, Czech PO, Antonin Devaty, Harry Newstone, Vaclav Smetacek
Label: Supraphon, ADD, 1951-1965
Bestellnummer: 7550109
Erscheinungstermin: 24.7.2009

Product Information:

The common denominator of the recordings of these three virtuoso concertos is the name of the soloist. In 1932 Frantisek Hantak, still a student, was called up by Vaclav Talich to assume the post of first oboe of the Czech Philharmonic Orchestra. Hantak was concurrently a member of Czech Nonet and later on also performed with the Czech Wind Quintet and the ground-breaking ensemble Ars rediviva. Following on from the previous CD comprising concertos by Mozart, Richard Strauss and Martinu (jpc 3864683), this album features other gems from Hantak’s discography in Supraphon’s archives: the legendary 1951 recording of Kramar’s Concerto in F major, the »Haydn« concerto (with the yet to be clarified question of its authorship), with the Prague Symphony Orchestra and Mozart’s lovely Sinfonia concertante, K 297b, with the Czech Philharmonic Orchestra conducted by Vaclav Smetacek (1965). The first two concertos appear here for the first time on CD in a sensitively remastered version. If to today’s listener the recording technology of the 1950s and 1960s may seem to leave something to be desired, the performers’ sheer musicality and engagement certainly more than make up for it.