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I Puritani Fantasie


"Hermstedt followed with a difficult composition of mine. He, who always when appearing in public went to work with the utmost nervous precision in everything, emboldened now to rashness buy the fumes of the champagne, had screwed on a new and untried reed to the mouthpiece of his instrument and even spoke vauntingly of it to me as I mounted the platform of the orchestra. I immediately anticipated no good from it. The solo of my composition began with a long sustained note which Hermstedt pitched almost inaudibly and by degrees increased to an enormous power, with which he always produced a great sensation. This time he began in the usual way and the public listened to the increasing volume of tone with rapt expectancy. But just as he was about to increase it to the highest power, the reed buckled and gave out a mis-tone, like the shrill cry of a goose. The audience laughed and the now suddenly sobered virtuoso turned deathly pale with horror. He nevertheless soon recovered himself, and executed the remainder with his usual brilliancy."

Louis Spohr: Autobiography, English translation 1865


Nicolai Pfeffer

Verlag: EDITION CLARINOVA / Trio Musik 

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Diese Orchestrierung, nach der bekannten Paraphrase Luigi Bassis, schließt Nicolai Pfeffers Beschäftigung mit Bearbeitungen des italienischen Konzertrepertoires vorerst ab. Die Instrumentierung für Klarinette und Kammerorchester erlaubt es dem Solisten, mühelös und doch ausgeprochen farbenreich mit dem Orchester zu interagieren, ohne die Brillanz des Opernoriginals einzubüßen. Die beiden wohlbekannten Arien der Paraphrase „A te, o cara“ und „Vien, diletto, è in ciel la luna“ werden von Bassi in gewohnter Weise virtuos umspielt und bringen in der vorliegenden Fassung für Klarinette und Kammerorchester Bellinis (1801–1835) bravouröse Opernathmospähre in den Konzertsaal.

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