While the alto as a soloist instrument made a timid first appearance at the end of the 18th century with Mozart, Stamitz and Dittersdorf, the Romantic era left it behind for the most part, despite Berlioz’ phenomenal Harold en Italie with alto solo; it was only during the last third of the 19th century that a few composers renewed their interest in this instrument as a soloist. Brahms of course, but also less-renowned musicians like those played here by violist Daniel Weissmann and pianist Jean-Louis Delahaut: Carl Reinecke, Henri Vieuxtemps, Robert Fuchs, and even Liszt in a most unique work for alto and piano, a Romance oubliée that closes the album like a melancholic goodbye. You’ll probably be surprised by this Liszt style, as here the composer rolls out an ample melody with most discrete accompaniments. At the end of the track, it’s worth listening to the alto arpeggios that Berlioz included in his Harold, undoubtedly the last tribute of old Liszt to his friend who had passed away twelve years earlier. More virtuosic, the works of Reinecke, Vieuxtemps and Fuchs demonstrate the growing role of the alto in the soloist repertoire, a trend that would eventually be brought in the open at the start of the 20th century with the works of Bartók, Hindemith, Walton, Milhaud, Martinů, Zimmermann, Berio, Ligeti, Kurtág… and the list is still growing to this day. However it is unfortunate that Romanticism didn’t consider the richness of this instrument, too often turning its attention to solo piano…