Beyond Beethoven: works for Natural Horn and Fortepiano. Anneke Scott (horn) & Steven Devine (fortepiano)




Anneke Scott (natural horn)
Steven Devine (fortepiano)

Premiered in 1800, Beethoven’s Sonata in F major, Op. 17 for piano and horn signalled the beginning of an explosion in works for piano and horn duo in the early part of the nineteenth century. Many composers were to follow in the footsteps of the great  master in exploiting the versatility and variety of the natural horn in the years that followed. Beyond Beethoven explores four works by close contemporaries, chosen partly due to the connections between the composers, Beethoven and his Op. 17 Sonata, and partly to dispel enduring modern myths about the instrument’s limited options.

Performing on original period instruments (an 1810 cor solo by Lucien Joseph Raoux, and an 1815 fortepiano by Johann Peter Fritz), Anneke Scott and Steven Devine, take us on a compelling journey through this enlightening corner of the piano and horn repertoire, with works by Ferdinand Ries, Friedrich Eugen Thürner, Friedrich Starke & Hendrik Coenraad Steup.

“Scott and Devine take us on a real journey. Both relish the variety the the composers provide for their instruments, and we should not take for granted the sheer technical prowess that is required to play this music; both Scott and Devine make it seem easy. A fascinating and uplifting disc.” Planet Hugill

“Scott is the leading virtuoso on the natural horn. Here, with Steven Devine, she performs four works by close contemporaries of Beethoven which offer an interesting journey down a music history byway and allow her to help dispel myths about the instrument’s supposedly limited repertoire.”  BBC Music Magazine (Four Stars)

“As one of the foremost proponents of period horn today, Anneke Scott provides confident, technically assured and historically informed accounts of this engaging chamber music, and is ably supported by Steven Devine on fortepiano. There is an innate musicality to this pairing, as well as a boldness and flamboyance, which must have been a feature of the original performances of this early repertoire for horn and piano.” Early Music Review