Trouble - Live in Los Angeles - VINYL LP

Album Tracks 1. No. 1. Preambule 2. No. 2. Pierrot 3. No. 3. Arlequin 4. No. 4. Valse Noble 5. No. 5. Eusebius 6. No. 6. Florestan 7. No. 7. Coquette 8. No. 8. Replique 9. No. 9. Papillons 10. No. 10. Asch - Scha (Lettres Dansantes) 11. No. 11. Chiarina 12. No. 12. Chopin 13. No. 13. Estrella 14. No. 14. Reconnaissance 15. No. 15. Pantalon Et Colombine 16. No. 16. Valse Allemande 17. No. 17. Intermezzo Paganini 18. No. 18. Aveu 19. No. 19. Promenade 20. No. 20. Pause 21. No. 21. Marche Des Davidsbundler Contre Les Philistins 22. I. Con Moto Agitato Andante 23. II. Allegro Con Moto 24. III. Presto 25. No. 1. Des Abends 26. No. 2. Aufschwung 27. No. 3. Warum? 28. No. 4. Grillen 29. No. 5. in Der Nacht 30. No. 6. Fabel 31. No. 7. Traumes Wirren 32. No. 8. Ende Vom Lied 33. Schumann - Liebeslied, S566/R253, Widmung

No one knows who first gave Beethoven's Trio Op. 11 the nickname Gassenhauer (Inchstreet songInch). Neither do we know if the name was kindly intended or derogatory, chosen to boost sales or perhaps meant ironically (Heinrich Heine, for instance, would later satirize the omnipresence of a tune, sung everywhere, from Weber's opera chorus InchWir winden dir den JungfernkranzInch).The catchy tune in Beethoven's final movement with variations was the vocal trio InchPria ch'io l'impegnoInch (InchBefore I go to workInch) from the comic operaL'Amor marinaro (The Sailor's Love), composed in 1797 by Joseph Weigl, who was a godchild of Haydn and had been pupil of Antonio Salieri. The aria enjoyed widespread, long-term popularity more than 30 years after the opera's première, Paganini still delighted Vienna audiences with variations on the same tune. Beethoven wrote his instrumental trio only half a year after the première, probably fulfilling a commission by clarinetist Joseph Bähr, who is said to have asked for variations on that theme. When clarinetist Kilian Herold asked composer Johannes Schöllhorn to arrange a Beethoven work for trio, Schöllhorn thought of the Bagatelles Op.119. The idea was to add a final level to a three-level concept, Composing Beethoven, consisting in an original work by Beethoven, then one of Beethoven's arrangements of his own works, and, finally, a work by Beethoven arranged by a 21st-century composer. Schöllhorn, already well-experienced in creative approaches to music of the past, deconstructs the original piano texture here in such a way that the resulting sound is not too lean, but opens up new areas of freedom for the pianist's new partners. He has conceived a light, airy trio texture brimming with discreet punch lines, interruptions, disruptions, unexpected connections, and cello sonorities ranging from sul tasto to col legno battuto, resulti

Album Tracks 1. Part I Grave 2. Part I Recitative 3. Part I Aria 4. Part I Aria 5. Part I Choral 6. Part II Aria 7. Part II Agitato 8. Part II Arioso 9. Part II Recitative 10. Part II Choral 11. Intermezzo 12. Part III Vivo 13. Part III Choral