Strings attached (2013)

Brahms, Schumann

Members Of The Royal Concertgebouw Orchestra, Arno Piters

People have been making arrangements of music for many centuries. This can take a variety of forms, from arranging existing melodies into partsong versions such as chorales or folk tunes to writing elaborate compositions based on a specific theme. Another common type of arrangement is writing for a different instrumentation than the original. Composers of today and yesteryear have adapted or “improved”, more or less drastically, their own compositions or those of other composers. 
Until around the mid-eighteenth century adaptation was felt to be on a par with an original composition. Bach, for example, did not consider it beneath himself to adapt works of colleagues such as Vivaldi and Telemann for his own use. But with the rise of the genius cult in the mideighteenth century, arrangements of music began to decline in status. Even so, significant composers such as Mozart and Beethoven eagerly threw themselves into making new adaptations. Beethoven primarily arranged his own work for different instrumentations, making for more ways of performing it, but he also wrote arrangements for string quartets of parts of the Well-tempered Clavier; Mozart, too, wrote similar adaptations. Then and later, Bach’s music continued to be in demand as material for arrangers: both Mendelssohn and Schumann composed complete piano accompaniments to his music for solo violin and solo cello, and Mendelssohn modernised the instrumentation of the St. Matthew Passion to suit the taste of the period. But nineteenthcentury composers also frequently made arrangements of their own work. Schumann, for example, transformed his original Symphony No. 2 into Symphony No. 4. A widely known example is Bruckner’s propensity to revise his own works, which would later make authenticity a problem. And Mahler thought nothing of refreshing the instrumentation of symphonies by Beethoven and more particularly Schumann, a custom that was considered completely acceptable in that day and age. In time though, the “improvements” made by Rimsky-Korsakow to the music of his colleague Moussorgski acquired a bad name.

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Arno Piters

Born in 1980, Arno Piters studied clarinet and E-flat clarinet with Jan Cober and Willem van der Vuurst at the Maastricht Conservatory, where he earned an honours diploma. He then went on to study with George Pieterson at the Conservatorium van Amsterdam and was again awarded an honours diploma.
Piters was a member of the National Youth Orchestra of the Netherlands, the Gustav Mahler Jugendorchester and the European Union Youth Orchestra, where he performed under such conductors as Pierre Boulez, Bernard Haitink and Vladimir Ashkenazy.
He has made solo appearances with the Residentie Orchestra and the Nuremberg Symphony Orchestra, among others. As a chamber player, he has performed at festivals both in and outside the Netherlands.
Piters was a member of the Netherlands Radio Symphony Orchestra from 2001 to 2003. He was subsequently appointed as clarinettist and E-flat clarinettist with the Royal Concertgebouw Orchestra in Amsterdam.
He teaches at the conservatories in Amsterdam.

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Strings attached (2013)

Brahms, Schumann

Members Of The Royal Concertgebouw Orchestra, Arno Piters

Cables: Siltech
Digital Converters: dcs
Mastering Equipment: Avalon acoustic
Microphones: Sonodore
Producer: Bert van der Wolf
Recording Engineer: Bert van der Wolf
Recording location: Galaxy Studios Belgium
Recording Software: Pyramix
Recording Type & Bit Rate: DSD64

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CC72572: Strings attached
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Tracks.
1.
Sonata in F Minor fur Klarinette und Streichquintett, Op. 120/1- I. Allegro appassionato
Brahms
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2.
Sonata in F Minor fur Klarinette und Streichquintett, Op. 120/1- II. Andante un poco Adagio
Brahms
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3.
Sonata in F Minor fur Klarinette und Streichquintett, Op. 120/1- III. Allegretto grazioso
Brahms
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4.
Sonata in F Minor fur Klarinette und Streichquintett, Op. 120/1- IV. Vivace
Brahms
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5.
Fantasiestucke fur Klarinette und Streichquartett, Op. 73- I. Zart und mit Ausdruck
Schumann
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6.
Fantasiestucke fur Klarinette und Streichquartett, Op. 73- II. Lebhaft, leicht
Schumann
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7.
Fantasiestucke fur Klarinette und Streichquartett, Op. 73- III. Rasch und mit Feuer
Schumann
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8.
Sonate in E-Flat Major fur Klarinette und Streichsextett, Op. 120/2- I. Allegro amabile
Brahms
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9.
Sonate in E-Flat Major fur Klarinette und Streichsextett, Op. 120/2- II. Allegro appassionato
Brahms
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10.
Sonate in E-Flat Major fur Klarinette und Streichsextett, Op. 120/2- III. Andante con moto, Allegro
Brahms
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