Hybrid Multichannel

HYBRID MULTICHANNEL Wolfgang Amadeus Mozart (1756-1791) March in D, K.249 1 Maestoso 3. 56 Serenade in D, K.250 “Haffner” 2 Allegro maestoso – Allegro molto 7. 52 3 Andante 8. 57 4 Menuetto 3. 38 5 Rondo – Allegro 7. 49 6 Menuetto galante 5. 32 7 Andante 7. 05 8 Menuetto 4. 43 9 Adagio – Allegro assai 7. 50 Solo-violin: Gordan Nikoli’c (in 3, 4 & 5) Cadenzas: Jean-Jacques Kantorow Netherlands Chamber Orchestra Gordan Nikoli’c, leader Total playing time: 57. 25 Biographien auf Deutsch und Französisch finden Sie auf unserer Webseite. Pour les versions allemande et française des biographies, veuillez consulter notre site. www.pentatonemusic.com The most graceful which took this “society-associated of light music light music” (Gruber) to undreamt-of t is a shame that the tradition of the heights. Mozart, a composer of light Iopen-air performances no longer music? Yes. After all, neither the com- plays a distinctive role in modern posers, nor the audiences of the 18th concert life. At least, not in classical century were confronted with the prob- music. Whereas pop and rock super- lem of the later division between “light” stars world-wide fill gigantic sport and “serious” music, which even now arenas without any problem, classical is adhered to in German-speaking open-air events remain the excep- countries with almost pompous grav- tion. Admittedly, megastars such as ity. Quite the opposite, in the Classical Pavarotti, Domingo and Carreras also period, it was much more a self-evident achieved this almost without effort. goal to link popularity to eruditeness in Although it is true that the “learned” an elegant manner, and to offer a piece concert audience rather turned up its of music which would appeal to all lev- nose at the programme they presented; els of the audience. At the same time, to say nothing of the price it demanded, serenades had been considered from as all sense of intimacy was somewhat time immemorial a refined genre of lost, considering the 10,000 spectators light music, which was certainly always and enormous amplifiers. worth acknowledging. The title already The open-air concerts of the indicates the ephemeral function of Classical period were certainly not this music; thus, the word “serenade” bothered by these problems. Making can be more or less derived from the music in the open air had played an Italian “sera” (evening) and “sereno” important role since the end of the (clear, cheerful). Middle Ages, especially in the cul- Apart from two exceptions, Mozart tural life of southern Germany. These wrote all his orchestral serenades in concerts took place mostly during the Salzburg during the period 1769 - 1779. evening and night. As he did in many He composed the serenades exclu- musical genres, Wolfgang Amadeus sively during the summer months of Mozart also wrote numerous works June to August, in which they were also performed. What was the reason ated form Haffner Serenade is derived: behind these serenade compositions? “Serenata per lo sposalizio del Sig. Well, either the works were com- Spath colla Sigra: Elisabetta Haffner”. missioned from Mozart as so-called The work was written for the hen’s “Final-Musiken” (= final music) for the night of the daughter of Siegmund final celebrations of the university Haffner, a merchant and also mayor year, or the music was commissioned of Salzburg (after whom a street is by prosperous Salzburg families to still named in that city), on July 22, celebrate birthdays, weddings or 1776. The size of the orchestra and the anniversaries. What distinguishes enormous length of the work mirrors Mozart’s serenades from the scarce Mozart’s high standards and, certainly remaining light music is the quality of to quite some extent, the financial the works, as well as their proximity to powers of his client: oboes, flutes, bas- the symphony, which is distinguished soons, horns, trumpets and solo violins in particular by the large amount of were employed in great numbers. Here, instruments he includes. Thus Mozart Mozart apparently wishes to show his later arranged his Haffner Serenade audience of just what compositional as a symphony. This is probably the feats he was capable, following vari- best-known of Mozart’s serenade com- ous attempts in the apparently so easy positions, alongside his Eine kleine field of light music. No less than eight Nachtmusik and Posthorn Serenade, further movements follow the March and received high praise from Robbins- K. 249 (which was not completed until Landon - the English author on music the day before the première), in which - who wrote that it was Mozart’s first galant mobility, symphonic demands major orchestral work, in which he and concertante virtuosity were com- created a perfect unity, thanks to the bined in an enthralling manner. The highest of technical skills and musical first and last movements, both writ- genius. Originally, the work included ten in a radiant D major, are veritable the following title, which was scribbled sonata movements. In between, there down by father Leopold Mozart on the are three concertante movements manuscript, from which the abbrevi- (Andante – Menuetto – Rondeau), in which the solo violin makes itself the both teacher and soloist. He also centre of attention in a virtuoso manner. worked with Lutoslawsky and Kurtág In the minuets one can hear question- and developed an interest in both able traits; for instance, the G-minor Baroque and contemporary music. minuet is quite abrupt and the D-minor He is the recipient of several inter- trio in the second minuet has a rather national awards, which include the elegiacal character. The originally fes- Tibor Varga, Niccolò Paganini, Cità di tive work turned into a demanding Brescia, and Vaclaw Huml prizes. entertainment of the most graceful type In 1989, he was appointed Leader at all musical levels. In other words, of the Orchestre d’Auvergne, which he the Haffner Serenade embodies the conducted regularly from his leader’s harmony between “light” and “seri- chair: for instance, during a tour of ous” music in classical balance. And Germany in 1993. In 1996, he was would still draw in the fans, not just in appointed Leader of the Lausanne the concert hall, but also in an open- Chamber Orchestra, and later he air concert. Although that would have also became Leader of the Cham- to take place in a much more intimate ber Orchestra of Europe. In 1997, he space than a football stadium. But that was invited to become Leader of is a good thing, too. the London Symphony Orchestra. Franz Steiger In 2005, Gordan Nikolić was invit- English translation: Fiona J. Gale ed by the London Symphony Orches- tra to be the soloist in three important projects: Schumann’s Violin Concerto Gordan Nikolic´ under Daniel Harding, Brahms’s Vio- ordan Nikolić was born in 1968 lin Concerto under Sir Colin Davis, Gand began playing violin at the and Beethoven’s Triple Concerto, age of seven. In 1985, he entered with pianist Emmanuel Ax and cel- the Musikhochschule Basel to study list Tim Hugh, under Bernard Haitink with violinist/conductor Jean-Jacques at the Barbican Centre in London. Kantorow. Four years later, he gradu- He has conducted the Chamber ated with the highest honours, as Orchestra of the London Symphony Orchestra, the Orchestre National invited to perform at various festivals. d’Île-de-France, the Manchester These include the Musique à l’Empéri Camerata, and the Rotterdam Phil- Festival, Edinburgh Festival, Daytona harmonic Orchestra, among others: Music Festival, Chaise-Dieu Festival during the 2005/2006 season, he and the London Proms, where he conducted the Orchestre de Lille. has performed with such musicians Since 2004, he has been Artis- as Vladimir Mendelssohn, Pieter tic Director of the Nederlands Kam- Wispelwey, Christophe Coin, Eric Le erorkest (= Netherlands Cham- Sage, Maria João Pires, Mikhaïl Plet- ber Orchestra), which is based in nev, Emmanuel Ax, Leif Ove And- Amsterdam. With this orchestra, he snes and Tim Hugh. Recently, he has has programmed various memo- joined the Vellinger String Quartet. rable productions, such as Stravin- He has performed as a soloist with sky’s L’histoire du soldat with kinetic the Orchestre de la Suisse Romande, painter Norman Perryman, and Weill’s the Orchestre Symphonique de Bâle, Die sieben Todsünden with thea- the Combattimento Consort Amster- tre company Dogtroep. Nikolić has dam, the Israel Chamber Orchestra already recorded several CDs with and the London Symphony Orchestra. the Netherlands Chamber Orches- In 2001, he played the Walton Vio- tra, which include works by Britten, lin Concerto with the London Sym- Bartók and Hartmann, among others. phony Orchestra under André Previn. In 2000, he was appointed “Prince In 2003, he performed the Brahms Consort Professor” for string ensem- Double Concerto with the London bles at the Royal College of Music. Symphony Orchestra under Bernard Since September 2003, he has also Haitink, which was recorded for the been a professor at the Guildhall ‘LSO Live’ label, as well as Paganini’s School of Music. In the Netherlands, Violin Concerto No. 1 in five concerts Nikolić also teaches at the Rotter- in Holland. He gave the première dam Academy for Classical Music. of James MacMillan’s Violin Con- Gordan Nikolić has a special inter- certo, Deep But Dazzling Darkness, est in chamber music, and is regularly under the baton of the composer with the London Symphony Orchestra. led the orchestra until 1986. From Gordan Nikolić has made many 1986 to 2002, Hartmut Haenchen was recordings for various labels (includ- chief conductor of the ensemble, with ing Olympia, Lyrinx and Syrius), Philippe Entremont as permanent exploring the lesser-known violin guest conductor.

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