Artist: Premysl Vojta, Tobias Koch
Album: Metamorphosis, Horn & Piano
Genre: Classical
Release Date: 2018
Audio Format:: FLAC (tracks) 24 bit, 48 kHz
Duration: 01:06:37
Total Tracks: 14
Total Size: 551 MB

Tracklist:

01. Premysl Vojta, Tobias Koch – Sonata for Pianoforte and Horn in F Major, Op. 17: I. Allegro moderato (08:48)
02. Premysl Vojta, Tobias Koch – Sonata for Pianoforte and Horn in F Major, Op. 17: II. Poco adagio, quasi andante (01:17)
03. Premysl Vojta, Tobias Koch – Sonata for Pianoforte and Horn in F Major, Op. 17: III. Rondo. Allegro moderato (05:13)
04. Premysl Vojta, Tobias Koch – Adagio and Allegro for Pianoforte and Horn, Op. 70: No. 1. Langsam, mit innigem Ausdruck (04:11)
05. Premysl Vojta, Tobias Koch – Adagio and Allegro for Pianoforte and Horn, Op. 70: No. 2. Rasch und feurig (05:01)
06. Premysl Vojta, Tobias Koch – Fantasiestuecke for Pianoforte and Horn, Op. 73: No. 1. Zart und mit Ausdruck (03:52)
07. Premysl Vojta, Tobias Koch – Fantasiestuecke for Pianoforte and Horn, Op. 73: No. 2. Lebhaft, leicht (03:31)
08. Premysl Vojta, Tobias Koch – Fantasiestuecke for Pianoforte and Horn, Op. 73: No. 3. Rasch und mit feuer (04:21)
09. Premysl Vojta, Tobias Koch – Three Romances for Pianoforte and Horn, Op. 94: No. 1. Nicht schnell (03:30)
10. Premysl Vojta, Tobias Koch – Three Romances for Pianoforte and Horn, Op. 94: No. 2. Einfach, innig (04:16)
11. Premysl Vojta, Tobias Koch – Three Romances for Pianoforte and Horn, Op. 94: No. 3. Nicht schnell (04:50)
12. Premysl Vojta, Tobias Koch – Alteration of the Sonata for Piano No. 2, Op. 27 by Beethoven into Sonata for Horn and Piano, Op. 95: I. Adagio sostenuto (07:49)
13. Premysl Vojta, Tobias Koch – Alteration of the Sonata for Piano No. 2, Op. 27 by Beethoven into Sonata for Horn and Piano, Op. 95: II. Allegretto (03:12)
14. Premysl Vojta, Tobias Koch – Alteration of the Sonata for Piano No. 2, Op. 27 by Beethoven into Sonata for Horn and Piano, Op. 95: III. Allegro agitato (06:37)

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Přemysl Vojta doesn’t play “a” horn here, but rather several very different horns. He starts out with a natural horn from 1833 for Beethoven’s Sonata − for anyone familiar with this work being played on a modern chromatic instrument, the surprise will be massive! Much due to the fact that most of the notes, unavailable in the natural scale of the primitive instrument, are generated by changing the position of the right hand in the bell, creating a deaf, nasal sound in addition to the natural notes playing at full sonority. The result is quite unique, but foreseen by Beethoven when writing his Sonata; it’s as if two different instruments were playing, exchanging notes within a single phrase.For Schumann, Vojta decided on a chromatic Viennese horn from the end of the 19th century, then a modern instrument from the famous German manufacturer Alexander. A modern horn he keeps for the ever-intriguing Alterations of the Sonata for Piano, Op. 27/2 by Ludwig van Beethoven into Sonata for Horn and Piano − yes, that’s the complete title! – by contemporary German composer Giselher Klebe (1925-2009). If you take into consideration that he approached the Moonlight Sonata with the aim to produce not a simple re-instrumentation, which wouldn’t be of particular interest, but a rewriting in which each moment is recognisably based on Beethoven while still being Klebe, then you can only marvel at the highly virtuosic accomplishment this represents. On the pianos, Tobias Koch transitions from an 1821 Graf for Beethoven’s Sonata to an 1839 Erard for all Schumann’s pieces and ends up on a Steinway for the Klebe/Beethoven part. In other words, the listener will be transported through an impressive range of sounds!