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| 1. | Sextett Op.22 in c-mol - 1. Moderato
Carmina Quartett (vonósnégyes), Thomas Grossenbacher (cselló/gordonka), Oliver Triendl (zongora)
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| 2. | Sextett Op.22 in c-mol - 2. Andantino quasi Allegretto (Variations I-V)
Carmina Quartett (vonósnégyes), Thomas Grossenbacher (cselló/gordonka), Oliver Triendl (zongora)
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| 3. | Sextett Op.22 in c-mol - 3. Menuett (Variations VI & VII)
Carmina Quartett (vonósnégyes), Thomas Grossenbacher (cselló/gordonka), Oliver Triendl (zongora)
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| 4. | Sextett Op.22 in c-mol - 4. Intermezzo
Carmina Quartett (vonósnégyes), Thomas Grossenbacher (cselló/gordonka), Oliver Triendl (zongora)
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| 5. | Sextett Op.22 in c-mol - 5. Finale
Carmina Quartett (vonósnégyes), Thomas Grossenbacher (cselló/gordonka), Oliver Triendl (zongora)
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| 6. | Quintett Op.44 in F-Dur - 1. Allegro moderato
Carmina Quartett (vonósnégyes), Thomas Grossenbacher (cselló/gordonka), Oliver Triendl (zongora)
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| 7. | Quintett Op.44 in F-Dur - 2. Commodo
Carmina Quartett (vonósnégyes), Thomas Grossenbacher (cselló/gordonka), Oliver Triendl (zongora)
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| 8. | Quintett Op.44 in F-Dur - 3. Sostenuto
Carmina Quartett (vonósnégyes), Thomas Grossenbacher (cselló/gordonka), Oliver Triendl (zongora)
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| 9. | Quintett Op.44 in F-Dur - 4. Risoluto, irato e con impeto
Carmina Quartett (vonósnégyes), Thomas Grossenbacher (cselló/gordonka), Oliver Triendl (zongora)
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| New Music by Paul Juon "The missing link between Tchaikovsky and Stravinsky" - it was thus that a contemporary critic once described the composer Paul Juon, the scion of a Swiss family resident in Moscow who earned an outstanding conservatory diploma in Russia before going to Berlin in 1894 to study with Clara Schumann's half-brother Waldemar Bargiel. The highly discriminating Joseph Joachim later appointed Juon to a full professorship at the Berlin College of Music in 1907. Paul Juon’s domains included orchestral works, piano compositions, and vocal music as well as chamber music. Following the release of his piano quartets we are now presenting to you his quintet and sextet, both also with piano. Juon occupied himself with the piano throughout his creative life, and he himself was an outstanding pianist who often performed his own works. The two works recorded here are obliged to Brahms and Chopin and of course to the Russian tradition. They are distinguished by bold harmonies and unusual or irregular rhythms. Polyrhythmic passages are also in evidence. It would also certainly not be incorrect to count Juon among the important innovators in the field of rhythm inasmuch as he anticipated developments for which Stravinsky, Blacher, and Messiaen would later become famous. |
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