Joseph Kreutzer: Trio, op. 16 Allegro risoluto 7:05; Adagio 4:27; Alla Polacca 6:24 Anton Diabelli: Serenata Concertante, op. 105 Andante sostenuto 1:26; Allegro moderato 5:52; Adagio non tanto - Scherzo, presto - Adagio non tanto - Prestissimo 4:33; Allegro non tanto 4:47; Marcia, allegro moderato 5:13 Allegro moderato 7:27; Menuetto 3:49; Lento e patetico 5:49; Zingara 2:47; Ständchen: Mädchen, o schlummre noch nicht! 7:06
Total time 67:11
Trio Kontraste :
At the beginning of the nineteenth century, the guitar experienced a true blossoming in a number of European metropolises. Numerous guitar virtuosos aroused a wave of enthusiasm for the guitar, undertook extensive concert tours through Europe, and were simultaneously extremely prolific composers. The guitar – which for a long time had gone unregarded and, in contrast to the lute, was without a tradition in art music – found entry into concert life and became a fashionable instrument. A majority of the concerts, however, were not public performances in today’s sense of the word, but rather took place in the private salons of the nobility and well-to-do middle classes. Whoever had social ambitions, issued invitations to musical soirees. The private venues for these soirees were naturally not of the size of a concert hall, and a pianoforte was not always available. For this reason, works for smaller chamber music formations with guitar, great numbers of which were published in the early nineteenth century, enjoyed great popularity. This popularity was certainly also enhanced by the predominantly serenade-like character of these compositions.
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