On January 5, 2017, Robert Owens passed away in Munich. He left behind a vital legacy of music that is just now being fully discovered. Soprano Jamie Reimer has studied the life and work of Owens extensively, and gave the world premiere of his 4 Sonnets to Eleonora Druse, which are on this album. Soprano Jamie Reimer has performed in opera, oratorio and recital venues around the United States, Italy, Germany, Brazil, and Australia. Her concert appearances include performances of Mozart Requiem, Handel’s Messiah, Canteloube’s Chants d’Auvergne, Beethoven’s Symphony No. 9 and Choral Fantasy, as well as Liszt’s Christus for the American Liszt Society’s international festival. She has performed with Opera Omaha, Omaha Symphony Chamber Orchestra, Lincoln Symphony, Hastings Symphony, and the Northern Iowa Symphony Orchestra. She has also appeared in several musical theater roles, including Tessa (The Gondoliers), Rapunzel (Into the Woods), and Martha Jefferson (1776).

One can easily find a great number of outstanding chamber music works for string instruments; on the other hand, chamber music repertoire for woodwinds on a similar high level of composition is relatively sparse. By the 1800s, string instruments and the piano had achieved a high standard in terms of playing technique and construction; wind instruments, however, lagged somewhat behind. Woodwinds still sounded uneven across their registers and suffered from technical constraints, including limitations in terms of musical keys: all of this must have exerted a counterproductive influence on a generation of Romantic composers who wanted to expand music’s horizons in terms of dynamics and harmony. The Ma’alot Wind Quintet has teamed up on this album with pianist Markus Becker in works by Ludwig van Beethoven for piano and woodwinds, supplemented by several of Beethoven’s charming works for flute-playing clock, arranged by clarinetist Ulf-Guido Schäfer for woodwind quintet. The main raison-d’être for this choice of program lies in the fact that Beethoven himself composed an excellent large-scale original work for four woodwinds (oboe, clarinet, horn, and bassoon) and piano – a work which, in terms of musical proportions and compositional ingenuity, rose far above the standard of what was otherwise being written for winds at the time when it was premiered (1796).That original composition is coupled on this album with another work by Beethoven for which we no longer have the original instrumentation, but which can be reconstructed, thanks to a series of circumstances, to a point of departure from which Ulf-Guido Schäfer has been able to arrange it as a chamber music Concerto for piano and wind quintet.

Already during his lifetime George Onslow was known as the "French Beethoven." This extraordinary distinction earned above all for his manifold chamber music does not do complete justice to his special rank. On this release, Markus Becker teams up with the Ma'alot Quintet for a closer look at Onslow's virtuoso side. Functioning as virtuoso concertos for the salon, both the Wind Quintet op. 81 and the Sextet op. 30 fully satisfied the discriminating taste of Parisian high society. Onslow began his occupation with wind instruments relatively late. The flute and other members of the wind family first inspired his interest when innovations like the ring-keyed technique developed by the inventive Theobald Bohm enormously expanded the range of possibilities for their use. Especially the late wind quintet op. 81 shows a wide scope: as for the musical substance Onslow puts the airy, serenade-like genre on the same level as the alleged graver chamber music for strings. In this respect the Sextet op. 30 is a singular exception and even a double one: certainly more out of business considerations than for artistic reasons, Onslow also published the salon concerto in a version with string quintet. The Ma'alot Quintet and Markus Becker present the wind version with captivating verve. The fine resolution of the instrumental colors and the room sound registered with filigree precision of course come across especially well on this recording.

The Voce Quartet's first two recordings, devoted to Schubert and then Beethoven, were released to praise from critics such as Telerama and The Strad. This eclectic, innovative quartet is now celebrating it's tenth anniversary by tackling string quintets of Mozart and Brahms. The Brahms quintet, both brilliant and highly moving, recalls some of the composer's best-known themes. Violist Lise Berthaud is called upon to round out the quintet.