These are two stunning major works by a composer who is gradually gaining recognition as a master of his craft. There’s a reason that Anton Reicha’s music has remained unknown for so long: much of it is ferociously difficult to play. The Horn Quintet, for example, is no mere bagatelle, but a 30-minute workout about 10 times more difficult than any known horn concerto. Technically, it’s simply beyond the reach of all but the most supreme virtuosos (one of whom is evidently Klaus Wallendorf, thank heaven!), but more than being a mere instrumental tour-de-force, it’s also musically thrilling. The opening Allegro, for example, covers a very wide harmonic range, while the Menuetto is really a deliriously syncopated Scherzo. The Grand quatuor concertant is larger still: at more than 35 minutes, this is a veritable chamber symphony for flute, cello, bassoon, and piano. Reicha thrived on working with challenging instrumental combinations such as this, and he achieves results that are as musically natural sounding as they are entertaining. The members of Consortium Classicum clearly relish the rewards these pieces offer, playing with effortless virtuosity and zest, and they are wonderfully recorded. There’s really no chamber music quite like this in its unique range and ambition, and you should hear it. Reicha’s music is a joy.
