About the album
My quest of many years for unknown but worthwhile repertoire has seldom yielded such outstanding works as the Polish masterpieces on this recording.
Koffler and Regamey are such unknown names that one would be inclined to conclude that they must be typical 'musician-composers', but even that is not the case. Among musicians too, their names do not usually ring a bell. But never before have I seen my musicians react so enthusiastically and emotionally to music I had placed before them.
The Quintet by Konstanty Regamey, to which Katarzyna Naliwajek-Mazurek drew my attention during a visit to the library of Warsaw University, is a fascinating journey through a most varied and colourful landscape; one forgets the 12-note technique completely when faced with so much imagination and creativity.
Józef Koffler's music, in particular the cantata Die Liebe, is of the greatest conceivable purity: one cannot sing of love, as expressed in this biblical hymn, in a purer and more intimate manner.
Why are these pieces hardly ever heard in our concert halls? Does Regamey make too heavy technical demands on the performers? Is Koffler's music too subtle for our time?
Werner Herbers, artistic leader
former principal oboist of the Royal Concertgebouw Orchestra
11Stringtrio, Op. 10 I. Allegro molto moderato
12Stringtrio, Op. 10 II. Andante (molto cantabile)
13Stringtrio, Op. 10 III. Allegro molto vivace
14Die Liebe - Cantata, Op. 14 I. Adagio - Vivace - Un poco mosso - Tempo
15Die Liebe - Cantata, Op. 14 II. Andante tranquillo - Agitat
16Die Liebe - Cantata, Op. 14 III. Allegro moderato - Tranquillo
17Die Liebe - Cantata, Op. 14 IV. Tempo I
18Quintet for Clarinet, Bassoon, Violin, Cello & Piano I. Tema con variazioni
19Quintet for Clarinet, Bassoon, Violin, Cello & Piano II. Intermezzo romantico - Lento
110Quintet for Clarinet, Bassoon, Violin, Cello & Piano III. Rondo - Vivace giocoso