"While still a child I often amused myself with a schoolboy's mischievous pranks, and my public never failed to fall into my trap. For example, I played one and the same piece now as a composition by Beethoven, now as a composition by Czerny, and now as my own. On the day when I presented it as my own work, I received the most encouraging applause ('That isn't bad at all for his age!'). On the day when I performed it under Czerny's name, they hardly listened to me. When I performed it with Beethoven's authority, then at long last I had a sure way of obtaining bravos from the whole audience."
Franz Liszt (a student of Czerny's who himself was a Beethoven pupil) wrote the above in a letter to George Sand. And it is probably a trick that would work today, just as well. Carl Czerny wrote this serenade in 1827 for Clarinet, Horn, Violoncello and Piano. Naturally the piano takes a lot of space but all the instruments get to present themselves. An adadgio introduction leads into a brilliant set of variations. Then a slow movement and a finale 'con fuoco'. Claudius Tanski, piano. Dieter Klöcker on the clarinet, Jan Schroeder on the horn and Martin Menking on the violoncello.
Ricardo M Marcenaro - Facebook
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