Beethoven:
Septet for Clarinet, Bassoon, Horn, Violin, Viola, Cello and Double Bass in E flat major, Op. 20

Kreutzer:
SEPTET for Clarinet, Bassoon, Horn, Violin, Viola, Cello and Double Bass in E flat major, Op. 62

Famous Sisters in Spirit Written in 1799, at the same time as the First Symphony, it reflects Beethoven’s ambition to gain a foothold in his new Viennese environment. The Septet is an experimental work with six contrasting movements – weighty as a symphony but also influenced by the lighter, more entertaining character of the serenade. The seven musicians were able to try out the Beethoven septet repeatedly in the concert hall, but they could not draw on such experience when they recorded Kreutzer’s work for the same line-up. Unlike Beethoven, who clearly indicates his intentions, Kreutzer allows the musicians plenty of room to emerge as soloists. This provided much food for discussion. Although that soloistic trait is undoubtedly a wonderful gift for imaginative musicians, it still requires a high degree of initiative, improvisational skill, and coordination. Indeed, this score [also six movements; also written in E Flat Major; basicaly a similar concept like the Beethoven pieces] contains everything it needs in order to come to life; it’s just that not everything is notated. To do justice to Kreutzer's septet, to make it better known, and perhaps even to reclaim it permanently for concert repertoire, the seven musicians worked on their own version for a long time. They ultimately brought out its numerous qualities while providing insight into its hidden layers. Combined with Beethoven's masterpiece, the result is a sound document that uncovers a buried path of music history, once more proving that unknown works are definitely worth studying, rehearsing, and performing.