(2026) Mozart, R. Strauss, Reger, Stravinsky
Category(ies): Chamber Concerto Modern Orchestra Piano Rarities Repertoire
Instrument(s): Clarinet Piano
Main Composer: Various composers (see collections)
Orchestra: Musikkollegium Winterthur
Conductor: Roberto González-Monjas
CD set: 2
Catalog N°:
CD 3415/46
Release: 06.11.2026
EAN/UPC: 7619931314525
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This album is now on repressing. Pre-order it at a special price now.
CHF 24.00
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Pre-order it at a special price now.
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From the archives of the Musikkollegium Winterthur
Winterthur-based patron of the arts Werner Reinhart transformed the Musikkollegium and the City of Winterthur into a centre of modernist music in the first half of the 20th century. Reinhart’s estate – with numerous scores bearing personal dedications serving as historical evidence of his unique artistic network – made an important contribution to the orchestra’s extensive archives. The Musikkollegium Winterthur will therefore be releasing a selection of particularly interesting works from the Reinhart estate to mark its fourth centenary in 2029.
Wolfgang Amadeus Mozart, Concerto for Clarinet and Orchestra in A Major, KV 622
Towards the end of the 1780s, Wolfgang Amadeus Mozart began to take a closer interest in the clarinet family. He was particularly fascinated by the low-pitched basset horn and sketched out the opening bars of a solo concerto in G major. This incomplete manuscript is now in Winterthur and presents the musical world with a major riddle: is it a precursor to the Clarinet Concerto K. 622, composed in 1791?
The sketch held in the Winterthur archives indeed bears a strong resemblance to the opening of the Clarinet Concerto. Furthermore, the final bars of the manuscript reveal how Mozart changed the solo instrument. Rather than the basset horn, it was now the newly invented basset clarinet, which Anton Stadler played with virtuosity, that assumed the solo part. Compared to the standard A-flat clarinet, this instrument has a wider range and a softer tone. Although the basset clarinet failed to gain widespread acceptance in the years following Mozart’s death, the composer’s only clarinet concerto remained popular. It is probably for this reason that the work was published for the A-flat clarinet in 1801. It was not until the 20th century that the at times peculiar leaps and repetitions resulting from the early-19th-century arrangement for A-flat clarinet began to attract attention, and the desire for a reconstruction of the instrument grew. The basset clarinet was reconstructed based on historical models. This performance of Mozart’s concerto, redevised for the instrument for which it was originally intended, brings the rich textures of the solo part into sharper relief and presents the work from a new sonic perspective.
Richard Strauss, Sonatina No. 2 in E-Flat Major for 16 Wind Instruments, ‘Fröhliche Werkstatt’
When Richard Strauss began writing his Second Sonatina for Wind Instruments in 1943, he had no idea that the work would soon assume far greater proportions than he had originally planned. To begin with, he crafted a single movement, consisting of an introduction and an allegro, in his composition studio. Shortly after completing the work, Strauss decided to add another allegro to the Sonatina; in the summer of 1945, he added an intermezzo and a minuet. At the première performance, given in Winterthur in 1946, the movement that had been composed first became the finale, while the Allegro con brio opened the sonatina, which now lasted 40 minutes. Strauss dedicated the work to his Swiss friend and patron, Werner Reinhart.
Having witnessed the destruction of his places of work in Munich and Dresden, Strauss declared his “life’s work” to be complete with the opera Capriccio (1942). Yet the composer, who took great pleasure in his daily work throughout his life, did not stop writing music. “So that one’s mind doesn’t become too dull,” Strauss composed ‘Workshop Pieces’, in which he revisited the style of his early works. The aim is to create beautiful, accessible music – playful, cheerful and innocent – and to pay tribute to the ‘Manes of Mozart’. In his Second Sonatina for Wind Instruments, Strauss adopts the instrumentation of his role model’s Gran Partita and adds two flutes and a clarinet, also replacing one of the two basset horns, of which Mozart was so fond, with the bass clarinet. Even if Strauss considered his late instrumental works as mere ‘limbering exercises,’ they are now considered among his finest compositions.
Max Reger, Sonata for Clarinet and Piano No. 3 in B-Flat Major, Op. 107
In an open letter written in 1907, Max Reger introduces himself to his readers as follows: “Anyone who wishes to know who the author is and what he wants should study his works.” This was a rather peculiar way of presenting himself – especially as Reger could also have been a teacher at the Leipzig Conservatoire – yet this mode of expression was perhaps entirely appropriate for a composer whose early work sparked considerable controversy. It was not until he arrived in Leipzig that Reger came to be regarded as a leading figure in German musical life. The composer completed his Third Sonata for Clarinet and Piano in 1909 at the height of his career.
Although Reger wrote to Henri Hinrichsen that the work would be “not at all long, so that the timbre of the wind instrument does not become tiresome,” the result amounts to just under 35 minutes of music. As in his other sonatas, Reger remains faithful to the formal structure established by Brahms. The heart of Reger’s composition lies in its harmony: he explores the boundaries of tonality without breaking away from it entirely. In stark contrast to earlier reviews, which found Reger’s music difficult to understand and criticised it for lacking recognisable reference points, the Third Clarinet Sonata is refreshingly melodious and features numerous motivic links between the movements. To this day, this sonata is regarded as a highlight of Reger’s compositional output.
Igor Stravinsky, Three Pieces for Solo Clarinet
Each of the Three Pieces for Solo Clarinet showcases the instrument from a different angle: the first work features a lyrical, cantabile melody in the lower register, before exploring a wider range in the second piece and concluding with a buoyant, dance-like finale. For the first two pieces, Stravinsky recommends the A-flat clarinet; for the third, the B-flat clarinet – yet while leaving the final choice of instrument to the musician, he points out that all his breathing marks, accents and tempo markings must be strictly observed. The second piece reveals why: Stravinsky omits bar lines, and only his instructions regarding tempo and agogics provide guidance on phrasing.
When composing the piece in Morges on Lake Geneva in 1918, it was no coincidence that Stravinsky chose to write it for the clarinet. The three pieces are intended as a token of gratitude to Werner Reinhart, a patron of the arts and amateur clarinettist from Winterthur, who had previously provided financial support for the first performances of L’histoire du soldat and helped Stravinsky to settle in Switzerland after the latter fled the communist revolution in Russia. However, it was not Reinhart – to whom the work was dedicated – but the clarinet virtuoso Edmond Allegra who gave the world première performance of these technically demanding solo pieces in Lausanne in 1919.
Anna Maria Hausmann
Translation: Toby Alleyne-Gee
Sérgio Pires
Sérgio Pires is regarded as one of the most outstanding clarinettists of his generation. He has been Principal Clarinettist with the Musikkollegium Winterthur since 2016 and has held the same position with the renowned London Symphony Orchestra (LSO) from 2023 to 2026. As a soloist, he has performed with such ensembles as the LSO, the Philharmonie Bremen, the Berlin Symphoniker, the Sinfonieorchester Basel and the Musikkollegium Winterthur at venues including the Berliner Philharmonie and the Tonhalle Zürich. His repertoire extends from Mozart and Weber to Nielsen and Penderecki. Pires has won numerous competitions, including the Cluj International Clarinet Competition (First Prize, 2017). As a chamber musician, he has performed with artists of the stature of Heinz Holliger and Emmanuel Pahud. Pires teaches at the Basel Academy of Music in François Benda’s class as well as giving masterclasses around the world. Sérgio Pires studied in Portugal and Basel, where he graduated with distinction. He is a Selmer and Silverstein artist.
Dominic Chamot
Dominic Chamot has established an international career and performs all over the world. He has been invited to play with leading European orchestras, including the WDR and ORF symphony orchestras, and has collaborated with conductors such as Jukka-Pekka Saraste, Cornelius Meister and David Marlow. Chamot is also highly sought after as a chamber musician, having performed with artists such as Kian Soltani, Sirena Huang, among many others. He is a regular guest at festivals such as Gstaad, Davos, the Schwetzingen Mozart Festival and the Mecklenburg-Vorpommern Festival. In 2026, Dominic Chamot joined the faculty of the Haute École de Musique de Lausanne, becoming Switzerland’s youngest professor of piano at the age of 30.
Musikkollegium Winterthur
The Musikkollegium Winterthur was founded in 1629 and thus boasts one of the longest-standing traditions among Europe’s musical institutions. Winterthur occupies a prominent position in Europe’s cultural landscape. This is due not only to its art collections, but also to its orchestra – the Musikkollegium Winterthur – which has been under the direction of Chief Conductor Roberto González-Monjas since the 2021/22 season. Stretching back to 1629, the history of the Musikkollegium Winterthur is still very much alive: today, the dedication of Winterthur’s bourgeois families of the 17th century is maintained by the numerous members of the orchestra association. The early 20th century was a particularly formative period, with patron of the arts Werner Reinhart and conductor Hermann Scherchen transforming Winterthur into a centre of European musical life. Igor Stravinsky, Richard Strauss and Anton Webern all frequented the city, as did Clara Haskil and Wilhelm Furtwängler. This is a legacy that comes with obligations: no other classical symphony orchestra in Switzerland devotes itself to contemporary music with as much natural confidence as the Musikkollegium Winterthur. World premières also feature on the programme – most recently of works by composers such as Richard Dubugnon, Helena Winkelman, David Philip Hefti, Matthias Pintscher, Andrea Tarrodi and Arash Safaian. In its remaining repertoire, the orchestra focuses on the classical and early romantic periods. However, the agile ensemble also enjoys shedding fresh light on great symphonic works, such as those by Brahms, who is the subject of a recent CD recording.
The orchestra can also be regularly experienced in opera and ballet productions. With more than 40 concerts per season, a versatile musical education programme and interdisciplinary formats, the Musikkollegium Winterthur is an outstanding ensemble. Many artists have contributed to the high quality of the orchestra’s performances: former chief conductors such as Franz Welser-Möst, Heinrich Schiff or Thomas Zehetmair, long-standing guest conductors such as Heinz Holliger, Reinhard Goebel and Michael Sanderling, but also internationally sought-after soloists, who are always pleased to return to the Musikkollegium Winterthur. Andreas Ottensamer, Barbara Hannigan, Joyce DiDonato, Nemanja Radulović, among others, regularly give guest performances in Winterthur.
Roberto González-Monjas
The internationally sought-after conductor and violinist Roberto González-Monjas rapidly established himself on the world stage thanks to his great artistic vision, charismatic presence and musical versatility. He has been Principal Conductor of the Musikkollegium Winterthur since 2021, Music Director of the Orquesta Sinfónica de Galicia since 2023, Principal Conductor of the Mozarteumorchester Salzburg since 2024, and is Artistic Director of the Iberacademy in Colombia. Following his debut with the Orchestre de Paris in spring 2025, González-Monjas was appointed as their Principal Guest Conductor from 2027/28. He was previously Principal Guest Conductor of the Belgian National Orchestra and Chief Conductor of the Dalasinfoniettan in Sweden. Highlights of the 2025/26 season included Mozart’s The Magic Flute at the Mozart Week in Salzburg, Così fan tutte at Zurich Opera House, the world première of Edmund Finnis’s Cello Concerto with Sheku Kanneh-Mason and the Los Angeles Philharmonic, as well as tours with the Orquesta Sinfónica de Galicia and the Mozarteumorchester. Guest appearances have taken him to the Oslo Philharmonic, the Hong Kong Philharmonic, the Orchestre National du Capitole de Toulouse and the Netherlands Chamber Orchestra, among others.
Roberto González-Monjas regularly collaborates with leading artists such as Joyce DiDonato, Hilary Hahn, Lisa Batiashvili, Juan Diego Flórez, Sir András Schiff, Jan Lisiecki and Steven Isserlis, and is deeply committed to contemporary music, having premièred works by composers including Andrea Tarrodi, Anders Hillborg and Thierry Escaich. He is particularly committed to supporting young talent: together with Alejandro Posada, he founded the Iberacademy, which offers new opportunities to young musicians in several Latin American countries. Roberto González-Monjas is also Professor of Violin at the Guildhall School of Music & Drama in London. His discography includes acclaimed recordings with the Mozarteumorchester Salzburg and the Musikkollegium Winterthur, and his album featuring Mozart’s complete violin concertos was released by Berlin Classics in early 2026. Roberto González-Monjas began his career as a soloist, chamber musician and first violinist.
(2026) Mozart, R. Strauss, Reger, Stravinsky - CD 3415/46
From the archives of the Musikkollegium Winterthur
Winterthur-based patron of the arts Werner Reinhart transformed the Musikkollegium and the City of Winterthur into a centre of modernist music in the first half of the 20th century. Reinhart’s estate – with numerous scores bearing personal dedications serving as historical evidence of his unique artistic network – made an important contribution to the orchestra’s extensive archives. The Musikkollegium Winterthur will therefore be releasing a selection of particularly interesting works from the Reinhart estate to mark its fourth centenary in 2029.
Wolfgang Amadeus Mozart, Concerto for Clarinet and Orchestra in A Major, KV 622
Towards the end of the 1780s, Wolfgang Amadeus Mozart began to take a closer interest in the clarinet family. He was particularly fascinated by the low-pitched basset horn and sketched out the opening bars of a solo concerto in G major. This incomplete manuscript is now in Winterthur and presents the musical world with a major riddle: is it a precursor to the Clarinet Concerto K. 622, composed in 1791?
The sketch held in the Winterthur archives indeed bears a strong resemblance to the opening of the Clarinet Concerto. Furthermore, the final bars of the manuscript reveal how Mozart changed the solo instrument. Rather than the basset horn, it was now the newly invented basset clarinet, which Anton Stadler played with virtuosity, that assumed the solo part. Compared to the standard A-flat clarinet, this instrument has a wider range and a softer tone. Although the basset clarinet failed to gain widespread acceptance in the years following Mozart’s death, the composer’s only clarinet concerto remained popular. It is probably for this reason that the work was published for the A-flat clarinet in 1801. It was not until the 20th century that the at times peculiar leaps and repetitions resulting from the early-19th-century arrangement for A-flat clarinet began to attract attention, and the desire for a reconstruction of the instrument grew. The basset clarinet was reconstructed based on historical models. This performance of Mozart’s concerto, redevised for the instrument for which it was originally intended, brings the rich textures of the solo part into sharper relief and presents the work from a new sonic perspective.
Richard Strauss, Sonatina No. 2 in E-Flat Major for 16 Wind Instruments, ‘Fröhliche Werkstatt’
When Richard Strauss began writing his Second Sonatina for Wind Instruments in 1943, he had no idea that the work would soon assume far greater proportions than he had originally planned. To begin with, he crafted a single movement, consisting of an introduction and an allegro, in his composition studio. Shortly after completing the work, Strauss decided to add another allegro to the Sonatina; in the summer of 1945, he added an intermezzo and a minuet. At the première performance, given in Winterthur in 1946, the movement that had been composed first became the finale, while the Allegro con brio opened the sonatina, which now lasted 40 minutes. Strauss dedicated the work to his Swiss friend and patron, Werner Reinhart.
Having witnessed the destruction of his places of work in Munich and Dresden, Strauss declared his “life’s work” to be complete with the opera Capriccio (1942). Yet the composer, who took great pleasure in his daily work throughout his life, did not stop writing music. “So that one’s mind doesn’t become too dull,” Strauss composed ‘Workshop Pieces’, in which he revisited the style of his early works. The aim is to create beautiful, accessible music – playful, cheerful and innocent – and to pay tribute to the ‘Manes of Mozart’. In his Second Sonatina for Wind Instruments, Strauss adopts the instrumentation of his role model’s Gran Partita and adds two flutes and a clarinet, also replacing one of the two basset horns, of which Mozart was so fond, with the bass clarinet. Even if Strauss considered his late instrumental works as mere ‘limbering exercises,’ they are now considered among his finest compositions.
Max Reger, Sonata for Clarinet and Piano No. 3 in B-Flat Major, Op. 107
In an open letter written in 1907, Max Reger introduces himself to his readers as follows: “Anyone who wishes to know who the author is and what he wants should study his works.” This was a rather peculiar way of presenting himself – especially as Reger could also have been a teacher at the Leipzig Conservatoire – yet this mode of expression was perhaps entirely appropriate for a composer whose early work sparked considerable controversy. It was not until he arrived in Leipzig that Reger came to be regarded as a leading figure in German musical life. The composer completed his Third Sonata for Clarinet and Piano in 1909 at the height of his career.
Although Reger wrote to Henri Hinrichsen that the work would be “not at all long, so that the timbre of the wind instrument does not become tiresome,” the result amounts to just under 35 minutes of music. As in his other sonatas, Reger remains faithful to the formal structure established by Brahms. The heart of Reger’s composition lies in its harmony: he explores the boundaries of tonality without breaking away from it entirely. In stark contrast to earlier reviews, which found Reger’s music difficult to understand and criticised it for lacking recognisable reference points, the Third Clarinet Sonata is refreshingly melodious and features numerous motivic links between the movements. To this day, this sonata is regarded as a highlight of Reger’s compositional output.
Igor Stravinsky, Three Pieces for Solo Clarinet
Each of the Three Pieces for Solo Clarinet showcases the instrument from a different angle: the first work features a lyrical, cantabile melody in the lower register, before exploring a wider range in the second piece and concluding with a buoyant, dance-like finale. For the first two pieces, Stravinsky recommends the A-flat clarinet; for the third, the B-flat clarinet – yet while leaving the final choice of instrument to the musician, he points out that all his breathing marks, accents and tempo markings must be strictly observed. The second piece reveals why: Stravinsky omits bar lines, and only his instructions regarding tempo and agogics provide guidance on phrasing.
When composing the piece in Morges on Lake Geneva in 1918, it was no coincidence that Stravinsky chose to write it for the clarinet. The three pieces are intended as a token of gratitude to Werner Reinhart, a patron of the arts and amateur clarinettist from Winterthur, who had previously provided financial support for the first performances of L’histoire du soldat and helped Stravinsky to settle in Switzerland after the latter fled the communist revolution in Russia. However, it was not Reinhart – to whom the work was dedicated – but the clarinet virtuoso Edmond Allegra who gave the world première performance of these technically demanding solo pieces in Lausanne in 1919.
Anna Maria Hausmann
Translation: Toby Alleyne-Gee
Sérgio Pires
Sérgio Pires is regarded as one of the most outstanding clarinettists of his generation. He has been Principal Clarinettist with the Musikkollegium Winterthur since 2016 and has held the same position with the renowned London Symphony Orchestra (LSO) from 2023 to 2026. As a soloist, he has performed with such ensembles as the LSO, the Philharmonie Bremen, the Berlin Symphoniker, the Sinfonieorchester Basel and the Musikkollegium Winterthur at venues including the Berliner Philharmonie and the Tonhalle Zürich. His repertoire extends from Mozart and Weber to Nielsen and Penderecki. Pires has won numerous competitions, including the Cluj International Clarinet Competition (First Prize, 2017). As a chamber musician, he has performed with artists of the stature of Heinz Holliger and Emmanuel Pahud. Pires teaches at the Basel Academy of Music in François Benda’s class as well as giving masterclasses around the world. Sérgio Pires studied in Portugal and Basel, where he graduated with distinction. He is a Selmer and Silverstein artist.
Dominic Chamot
Dominic Chamot has established an international career and performs all over the world. He has been invited to play with leading European orchestras, including the WDR and ORF symphony orchestras, and has collaborated with conductors such as Jukka-Pekka Saraste, Cornelius Meister and David Marlow. Chamot is also highly sought after as a chamber musician, having performed with artists such as Kian Soltani, Sirena Huang, among many others. He is a regular guest at festivals such as Gstaad, Davos, the Schwetzingen Mozart Festival and the Mecklenburg-Vorpommern Festival. In 2026, Dominic Chamot joined the faculty of the Haute École de Musique de Lausanne, becoming Switzerland’s youngest professor of piano at the age of 30.
Musikkollegium Winterthur
The Musikkollegium Winterthur was founded in 1629 and thus boasts one of the longest-standing traditions among Europe’s musical institutions. Winterthur occupies a prominent position in Europe’s cultural landscape. This is due not only to its art collections, but also to its orchestra – the Musikkollegium Winterthur – which has been under the direction of Chief Conductor Roberto González-Monjas since the 2021/22 season. Stretching back to 1629, the history of the Musikkollegium Winterthur is still very much alive: today, the dedication of Winterthur’s bourgeois families of the 17th century is maintained by the numerous members of the orchestra association. The early 20th century was a particularly formative period, with patron of the arts Werner Reinhart and conductor Hermann Scherchen transforming Winterthur into a centre of European musical life. Igor Stravinsky, Richard Strauss and Anton Webern all frequented the city, as did Clara Haskil and Wilhelm Furtwängler. This is a legacy that comes with obligations: no other classical symphony orchestra in Switzerland devotes itself to contemporary music with as much natural confidence as the Musikkollegium Winterthur. World premières also feature on the programme – most recently of works by composers such as Richard Dubugnon, Helena Winkelman, David Philip Hefti, Matthias Pintscher, Andrea Tarrodi and Arash Safaian. In its remaining repertoire, the orchestra focuses on the classical and early romantic periods. However, the agile ensemble also enjoys shedding fresh light on great symphonic works, such as those by Brahms, who is the subject of a recent CD recording.
The orchestra can also be regularly experienced in opera and ballet productions. With more than 40 concerts per season, a versatile musical education programme and interdisciplinary formats, the Musikkollegium Winterthur is an outstanding ensemble. Many artists have contributed to the high quality of the orchestra’s performances: former chief conductors such as Franz Welser-Möst, Heinrich Schiff or Thomas Zehetmair, long-standing guest conductors such as Heinz Holliger, Reinhard Goebel and Michael Sanderling, but also internationally sought-after soloists, who are always pleased to return to the Musikkollegium Winterthur. Andreas Ottensamer, Barbara Hannigan, Joyce DiDonato, Nemanja Radulović, among others, regularly give guest performances in Winterthur.
Roberto González-Monjas
The internationally sought-after conductor and violinist Roberto González-Monjas rapidly established himself on the world stage thanks to his great artistic vision, charismatic presence and musical versatility. He has been Principal Conductor of the Musikkollegium Winterthur since 2021, Music Director of the Orquesta Sinfónica de Galicia since 2023, Principal Conductor of the Mozarteumorchester Salzburg since 2024, and is Artistic Director of the Iberacademy in Colombia. Following his debut with the Orchestre de Paris in spring 2025, González-Monjas was appointed as their Principal Guest Conductor from 2027/28. He was previously Principal Guest Conductor of the Belgian National Orchestra and Chief Conductor of the Dalasinfoniettan in Sweden. Highlights of the 2025/26 season included Mozart’s The Magic Flute at the Mozart Week in Salzburg, Così fan tutte at Zurich Opera House, the world première of Edmund Finnis’s Cello Concerto with Sheku Kanneh-Mason and the Los Angeles Philharmonic, as well as tours with the Orquesta Sinfónica de Galicia and the Mozarteumorchester. Guest appearances have taken him to the Oslo Philharmonic, the Hong Kong Philharmonic, the Orchestre National du Capitole de Toulouse and the Netherlands Chamber Orchestra, among others.
Roberto González-Monjas regularly collaborates with leading artists such as Joyce DiDonato, Hilary Hahn, Lisa Batiashvili, Juan Diego Flórez, Sir András Schiff, Jan Lisiecki and Steven Isserlis, and is deeply committed to contemporary music, having premièred works by composers including Andrea Tarrodi, Anders Hillborg and Thierry Escaich. He is particularly committed to supporting young talent: together with Alejandro Posada, he founded the Iberacademy, which offers new opportunities to young musicians in several Latin American countries. Roberto González-Monjas is also Professor of Violin at the Guildhall School of Music & Drama in London. His discography includes acclaimed recordings with the Mozarteumorchester Salzburg and the Musikkollegium Winterthur, and his album featuring Mozart’s complete violin concertos was released by Berlin Classics in early 2026. Roberto González-Monjas began his career as a soloist, chamber musician and first violinist.
Return to the album | Read the booklet | Composer(s): Various Composers | Main Artist: Sérgio Pires
Clarinet
Concerto
Dominic Chamot
High-resolution audio - Studio master quality
Igor Stravinsky (1882-1971)
In stock
Max Reger (1873-1916)
Modern
Musikkollegium Winterthur
Orchestra
Piano
Rarities
Repertoire
Richard Strauss (1864-1949)
Roberto González-Monjas - conductor
Soon
Sérgio Pires
Various composers
Wolfgang Amadeus Mozart (1756-1791)
Clarinet
Concerto
Dominic Chamot
High-resolution audio - Studio master quality
Igor Stravinsky (1882-1971)
In stock
Max Reger (1873-1916)
Modern
Musikkollegium Winterthur
Orchestra
Piano
Rarities
Repertoire
Richard Strauss (1864-1949)
Roberto González-Monjas - conductor
Soon
Sérgio Pires
Various composers
Wolfgang Amadeus Mozart (1756-1791)