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Hyperion Records

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Track(s) taken from CDD22017
Recording details: October 1988
Unknown, Unknown
Produced by Martin Compton
Engineered by Tony Faulkner
Release date: November 1989
Total duration: 13 minutes 42 seconds

'A winner' (Gramophone)

'This collection of lesser-known works is very enjoyable and Thea King's playing is excellent throughout' (BBC Music Magazine)

'A thoroughly engaging programme of forgotten music all played with skill and real charm and excellently recorded' (The Penguin Guide to Compact Discs)

'Without question, this release should be on the shelf of every serious student and teacher of the clarinet' (Fanfare, USA)

Konzertstück in F major
composer

Allegro agitato  [6'05]
Allegretto  [3'33]
Allegro agitato  [4'04]

Introduction  EnglishFrançaisDeutsch
Gustaf Adolf Heinze (1820–1904) was born in Leipzig but spent most of his long life in Holland, conducting and composing vocal music. In January 1967 a remarkable article appeared in the Dutch periodical Mens en Melodie, entitled ‘De Memoires van G A Heinze’—remarkable because the author, Mies Albarda-Goedhart, wrote from personal acquaintance of a man who had played clarinet in the Leipzig Gewandhaus Orchestra under Mendelssohn at the age of only fifteen, and had given concerts with the young Clara Wieck, later to become Schumann’s wife. Clearly Heinze had been a child prodigy. He was taught by his father, also a clarinettist in the Gewandhaus. After four years spent playing in the orchestra he left, with Mendelssohn’s blessing, to study composition.

Mendelssohnian influence is not hard to detect in this Konzertstück, alongside snatches of Weber and Schubert. The work is skilfully scored for large orchestra, including trombones. It opens in the minor in serious, even ominous, mood. The second subject brings relief with a switch to the major and the opportunity for lyricism. Heinze shows little enthusiasm for developing his material, preferring instead to enrich the work with new tunes before bringing in the recapitulation. The soloist is then allowed to interrupt proceedings with an extended cadenza (there had been several earlier attempts to do so) and the work ends triumphantly.

from notes by Hyperion Records Ltd © 1989

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