Anton Reicha (1770-1836)
Grand Quatuor concertant pour piano, flûte, basson et violoncelle en mi bémol majeur, op. 104
Trio pour flûte, violon et violoncelle en sol majeur
Grand Trio concertant en la majeur, op. 101
Quintette n° 2 pour flûte, clarinette, cor français, basson et alto en mi bémol majeur

Albert-Schweitzer-Ensemble

Angela Firkins, flûte
Martin Spangenberg, clarinette
Tillmann Höfs, cor
Eckart Hübner, basson
Florian Donderer, violon, alto
Tanja Tetzlaff, violoncelle
Kiveli Dörken, piano

A full ten months older than Ludwig van Beethoven and a friend since their years together in Bonn, the Bohemian Antonín Reicha is to a certain extent a complementary addition to the revolutionary achievements of the "Titan". You can hear at every turn that he also had a pronounced tendency towards experimentation. This is seen mostly in his extremely "relaxed" treatment of established norms – a minuet where any dancer would immediately and hopelessly falter; variations with extremely contrasting means of expression; harmonic and melodic impudence; an often very subtle way of shifting phrases; and astonishing scoring – these are the characteristics of a man that shook the foundations of Paris and beyond.