Bernhard Päuler

The sonatas are arranged progressively and are excellently suited for learning concertante 'art skills', but do not lack harmonic subtleties.

His present Duos are a fine example of how to write a sprightly and melodious dialogue using modest technical means.

Edited from the frist edition

The Haydn pupil Neukomm gave us with this delightful lyrically as well as dramatically conceived fantasy a valuable 'interlude' committed to operatic bel canto.

Opus 132 is still one of the most frequently published pieces by the master. The characteristic style and playfulness of this late work already hint at the era of the romanticizing salon, as can be se...

In Fürstenau's work, written largely for his own use, the virtuoso element naturally predominates, but frequently alternates, alongside polyphonic interpolations, with elegiac and extended recitative-...

In Fürstenau's trios, the brilliant diction of his friend C. M. von Weber does not seem to have remained without influence at times. Especially in the final movements, virtuosity gives way to the work...

The freshness of the invention and the unmistakable flutistic coloration in all trios with a polyphonic touch should awaken the joy of discovery. The movements offer a feast of witty equal interplay f...

Kummer's chamber music is experiencing a furious renaissance: it is recognized 'that his fantasies are of consummate elegance and always well-set', like his op. 53. Ductus and playfulness in this work...

The language of Mozart flows through the elegant, always playful parity of the work of the 'Mozart pupil', without touching his spirit: the dawning romanticism breaks through all too clearly. Suitable...

Edited from the First Edition.

Edited from the first edition.

The not-too-heavy viruoso element predominates, but frequently alternates with elegiac, extended recitative-like passages. Weber's brilliant diction does not seem to have remained without influence.

Edited from the first editions.

Our Grand Trio op. 24 follows the first print of the parts, and we have added a score; it is a splendid example of Tulou's elegant and well-balanced part-writing. It will surely be a most welcome addi...

Sonata I: C major, Sonata II: G major, Sonata III: E minor.

Sonata IV: E major, Sonata V: F major, Sonata VI: G major.