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Sonatas for horn and fortepiano





Anneke Scott & Kathryn Cok



[The] programme consists of two of the more standard natural horn solo pieces by Beethoven and Krufft plus two less well known but very worthwhile pieces by Haydn and the composer duo Leidesdorf and Bellonci. Scott provides excellent and detailed notes on all the composers and their compositions...The natural horn playing is superb throughout with stellar support on fortepiano by Kathryn Cok...The real gem in the programme is the annonymous arrangement of the Largo from Joseph Haydn's Rider String Quartet. Scott plays with the most beautiful legato and subtle changes of colour...A fine solo debut and an album to be highly recommended."
The Horn Player (October, 2011)

Presented with such credentials one might reasonably expect nothing short of an excellent recording, and this is exactly what the two have provided... The obscurity of these works, each of which are nevertheless interesting in their own right, let alone the quality of the performances, makes the CD a valuable resource for anyone wishing to expand their knowledge of the solo horn literature of the Classical-era... Scott and Cok have negotiated each of these varied challenges successfully and crafted a compelling musical performance... In any case, the thing that recommended this CD to me personally was that it raised so many questions but was not performed like an academic exercise in the slightest. While scores and scholarship make me ask questions regularly, it has been a long time since a CD did.
Historic Brass Society (7th October, 2011) - Click here to read more.

Camillo Bellonci komponierte die hier wohl erstmals eingespielte Hornsonate: er wirkte als Hornist in Wien auch am Kärtnertor-Theater und bemühte sich wohl um bautechnische Verbesserung seines Instruments. Wahrscheinlich hat er das großformatige Stüke für sich selbst komponiert, der bekannte Verleger Leidesdof es publiziert und sich als Komponist miterwähnt. Das mit erfrischenden und überraschenden Einfällen faszinierende Werk ist eine musikantische Perle, die allerhöchste Spielkunst verlangt und diese CD wertvoll macht. Denn wie Nikolaus von Kruffts ist auch Beethovens Hornsonate für Stich-Punto, mit ihm uraufegführt, wohlbekannt; das "Adagio" aus Haydns Streichquartett op74:3 ist ein hübsches Schmankerl. Eine für Hornenthusiasten wichtige Neuerscheinung
Ensemble (October, 2011)

Der Tonträgermarkt wurde in der letzten Zeit nicht gerade überschwemmt mit Aufnahmen von Hornsonaten. Da weckt jede neu erscheinende Einspielung Interesse. – Und es ist umso erfreulicher, wenn man es mit einer zu tun hat, die den Hörer gefangen nimmt, wie etwa die nun vom holländischen Challenge Records veröffentlichte CD mit dem schlichten Titel ‚Sonatas for Horn and Fortepiano‘. Was sich aber so brav anhört, birgt ordentlich Zündstoff. Dafür sorgt Anneke Scott, die sich den letzten Jahren als einer der führenden Virtuosen auf diversen historischen Horntypen etabliert hat, sowohl als Solistin als auch in verschiedenen ‚period orchestras‘ und auf dem Feld der Kammermusik. Letzteres bestellt sie mit der amerikanischen Pianistin Kathryn Cok, einer Spezialistin für historische Claviere.
Romantisches Kantabile in klassisch klarer Formung.
Klassic.Com (25th of August, 2011) Click here to read more.

This is a great CD, featuring some unsusual and worthwile music which is not overshadowed by the better known Beethoven.
Musical Pointers (July, 2011) - Click here to read more.

Anneke Scott and Kathryn Cok demonstrate here that performance on period instruments need not be a dry or academic exercise. In fact, the four works they play here would have little to commend them were they to be played on modern instruments. But the great benefit of the handhorn and the fortepiano is the sheer variety of tones and colours that they are capable of producing, bringing something new to each successive phrase…But first and foremost, this recording is great fun. It is not a history lesson in any sense, and while the historical research behind it clearly erudite, it is the immediacy of the music that leaves a lasting impression…Kathryn Cok is an energetic but sensitive accompanist. Like Scott, she never treats the classical repertoire, nor her historic instrument, with undue reverence, and she plays every piece with energy and spontaneity.
Classical CD Reviews (25th July, 2011) - Click here to read more.


This short lunchtime concert was the musical cousin of a good gin and tonic. Each of the three pieces involved both Anneke Scott (natural horn - ie without helpful additions such as valves) and Kathryn Cok (fortepiano) in near equal measures. Both played with a combination of lemon zestiness and icy control. From her initial note onwards in Antonin Reicha’s Solo in E minor, Scott showed her mastery of her difficult instrument, drawing out its sensitivity during the andante as much as its vibrancy during the other movements. She and Cok were especially well blended throught Nikolaus von Kruft’s Sonata in E Major, with the latter excelling at the introductions to each movement intertwined throught Beethoven’s Sonata in F Major. The two provided a suprising encore in the form of an adaptation of Schubert’s Ave Maria. Usually, I loathe this work. However. Ms Scott produced a breezy interpretation that swept away images of suffocating church interiors and replaced it with sunnier vistas of hills and rivers. Mine’s a double! (Paul Simon, The Mercury).

A stylish and informative recital.
(Jackie Wallace, Essex County Standard)