Robert Schmidt: “Each composition has its own story and describes my many years of involvement with Argentine tango. In 1989, after hearing Astor Piazzolla playing Tango Argentino, I was hooked and never let go. From that day on, I spent days looking for recordings of Tango Argentino in stores wherever I was. These recordings were almost impossible to find, and tango certainly wasn’t played live. Then, in the mid-1990s, I set off for Buenos Aires, the cradle of tango, to play concerts. We were the first generation of German musicians to play tango, enthusiastically acclaimed by critics and audiences alike.”
The tango suite, composed in 2023, contains both concertante movements and dance movements such as tango and milonga. The composer’s own memories and impressions from stays in Buenos Aires are condensed into a picture of a typical day in the metropolis. The composition begins with fragments of dreams, awakening, and restarting of the day. Then, it sets off into the daily struggle and traffic stress. It continues with an enjoyable afternoon promenade, followed by an evening of retrospective melancholy, and ends with recurring dreams.
Un día en Buenos Aires (2023)
Suite for harmonica, piano and chamber orchestra
The tango suite, composed in 2023, contains both concertante movements and dance movements such as tango and milonga. The composer’s own memories and impressions from stays in Buenos Aires are condensed into a picture of a typical day in the metropolis. The composition begins with fragments of dreams, awakening, and restarting of the day. Then, it sets off into the daily struggle and traffic stress. It continues with an enjoyable afternoon promenade, followed by an evening of retrospective melancholy, and ends with recurring dreams.
Un día en Buenos Aires (2023)
Suite for harmonica, piano and chamber orchestra
- De Noche (lento) - Amanecer (tango)
- Porl a Mañana (tangudia)
- Por la Tarde (milonga)
- Atardecer (adagio)
- Soñando (milonga lenta)
Jean Berger (1909–2002) was a German-born American pianist, composer, and music educator. Born in Hamm, Germany, and originally named Arthur Schlossberg, he received his doctorate in musicology from the University of Heidelberg. Afterwards,
he worked as an assistant conductor at the major opera house in Mannheim.
In 1933, escaping Nazi Germany, he migrated to France. Following a tour throughout South America and the U.S., during which time France had fallen to Germany, Berger migrated to the U.S. In 1941, while in New York, he befriended famous harmonica virtuoso Larry Adler. Berger heard Adler for the first time in 1939 at the ABC Theater in Paris, where he performed Vivaldi’s Violin Concerto. “I nearly passed out,” Berger wrote. Impressed by his South American-style compositions, Adler commissioned a concerto from him—the first ever written for harmonica.
The world premiere of the Caribbean Concerto was in 1942 with the St. Louis Symphony, Vladimir Golschmann conducting. Six years later, Berger composed the Concertino for Harmonica and Chamber Orchestra with Larry Adler in mind. But Adler, stigmatized during the McCarthy era, was about to move to London and never performed the work. Later it was re-scored for piano and chamber orchestra and became one of Berger’s most successful instrumental works.
During his stay in New York, Berger was drawn more broadly to the musical expression of American black culture and experience—not only jazz, but blues, gospel, spirituals, and other genres. This influence is quite noticeable in the Concertino. It is especially apparent in the 2nd and 3rd movements with their slow spiritual melodies and rhythmic patterns accompanying blues melodies.
In his later life, Berger became aware of the immense scope and magnificence of American choral singing. He concentrated more and more on composing choral music and became nationally prominent in that field. This is commemorated in works like “Brazilian Psalm” and “The Eyes of All Wait Upon Thee.” From 1970 on, Berger lectured widely throughout the world on various aspects of American music.
Concertino for harmonica and chamber orchestra (1948)
In 1933, escaping Nazi Germany, he migrated to France. Following a tour throughout South America and the U.S., during which time France had fallen to Germany, Berger migrated to the U.S. In 1941, while in New York, he befriended famous harmonica virtuoso Larry Adler. Berger heard Adler for the first time in 1939 at the ABC Theater in Paris, where he performed Vivaldi’s Violin Concerto. “I nearly passed out,” Berger wrote. Impressed by his South American-style compositions, Adler commissioned a concerto from him—the first ever written for harmonica.
The world premiere of the Caribbean Concerto was in 1942 with the St. Louis Symphony, Vladimir Golschmann conducting. Six years later, Berger composed the Concertino for Harmonica and Chamber Orchestra with Larry Adler in mind. But Adler, stigmatized during the McCarthy era, was about to move to London and never performed the work. Later it was re-scored for piano and chamber orchestra and became one of Berger’s most successful instrumental works.
During his stay in New York, Berger was drawn more broadly to the musical expression of American black culture and experience—not only jazz, but blues, gospel, spirituals, and other genres. This influence is quite noticeable in the Concertino. It is especially apparent in the 2nd and 3rd movements with their slow spiritual melodies and rhythmic patterns accompanying blues melodies.
In his later life, Berger became aware of the immense scope and magnificence of American choral singing. He concentrated more and more on composing choral music and became nationally prominent in that field. This is commemorated in works like “Brazilian Psalm” and “The Eyes of All Wait Upon Thee.” From 1970 on, Berger lectured widely throughout the world on various aspects of American music.
Concertino for harmonica and chamber orchestra (1948)
- Allegro ma non troppo
- Andante
- Allegro
Gordon Jacob (1895 –1984) was a prominent British composer and educator known for his extensive contributions to wind band and orchestral music.
A graduate and long-time faculty member of the Royal College of Music, Jacob’s works are celebrated for their clarity, craftsmanship, and effective orchestration.
His legacy includes a diverse repertoire of contemporary classical music. Gordon Jacob’s “Five Pieces” for harmonica and piano were composed in 1957.
This suite was written specifically for the renowned harmonica virtuoso Tommy Reilly. The first performance took place on December 26, 1957, at the Concert Hall in Broadcasting House, London, with Tommy Reilly on harmonica and James Moody on piano.
Five Pieces for harmonica and piano (1957)
His legacy includes a diverse repertoire of contemporary classical music. Gordon Jacob’s “Five Pieces” for harmonica and piano were composed in 1957.
This suite was written specifically for the renowned harmonica virtuoso Tommy Reilly. The first performance took place on December 26, 1957, at the Concert Hall in Broadcasting House, London, with Tommy Reilly on harmonica and James Moody on piano.
Five Pieces for harmonica and piano (1957)
- Caprice
- Cradle song
- Russian dance
- Threnody
- Country dance