Programme Notes, September 2014

Luigi Boccherini (1743-1805) : Sextet Op. 42 in Eb for Flute, Bassoon, Horn, Violin, Viola and Bass

I - Andante Lento II - Allegro ma non Presto II - Tempo di Minuetto

It is difficult to find a from the second half of the 18th century who was not inspired and influenced by Haydn. Boccherini is no exception to this, despite spending much of his life in Spain and therefore far from Haydn. Born into a musical family in Lucca, Italy, he followed in his father’s footsteps by playing the ‘cello. His works have often been promoted by cellists in the recent revival of his music: he wrote at least 39 cello sonatas and 12 cello , along with hundreds of chamber works featuring the ‘cello. As a performer, he gained a reputation for being able to play violin repertoire parts at pitch on his instrument, but as a composer he has a significant output of compositions in many other forms, such as , symphonies, quartets and quintets. He lost his job as a court composer in Madrid after a request from King Charles III to change a passage in a newly composed Trio: Boccherini promptly doubled the passage and was instantly dismissed.! ! The Sextet we perform for this concert is a work in three short movements, charming and typical of the serenade in its musical style. However, the form of the three movements is slightly unusual in being Slow - Fast - Minuet, different from the more common structure exemplified in the Koželuch Serenade of the overall Fast - Slow - Minuet - Fast. Boccherini’s first movement might have been considered a slow introduction to the Allegro, except that it became a whole movement in its own right. The Minuet was such a popular dance form in the 18th century that many works concluded with one until the Sonata structure became more a popular artistic mould in the later part of century, when the Minuet became a middle movement. Andrew Clark

Wolfgang Amadeus Mozart (1756-1791) : Flute Quartet in C KV 285b for Flute, Violin, Viola, and 'Cello

I - Allegro II - Theme & Variations

"Mozart is life itself," said the great conductor Sir Colin Davis in a Guardian interview. Indeed, listening to and playing Mozart makes it evident that composing was like breathing to Mozart. His music has the most natural flow, yet it is full of constant unexpected turns; it is replete with humour and wit, yet at the same time has an incredible quality of transcendent beauty. The origin of Mozart's C-major Flute Quartet is uncertain, but it is speculated that it was written for his good friend the flute player Johann Baptist Wendling--in which case, rather than being composed for a commission, this music was written out of pleasure to be played by friends. The first movement Allegro is generally exuberant and light-hearted, but takes unexpected darker turns in the development section. The second (and last) movement - Theme and Variations - is same material as in his Grand Partita K361/370a for twelve wind instruments and bass, however, it is not known which work was composed first. Both of the versions are masterful and fit the instruments so naturally, it is impossible to guess which one is the arrangement. The theme, innocent like a children's song, is followed by four variations in different characters, one featuring each of the instruments. The fifth variation Adagio takes a more transcendent quality, which is brushed off by the humorous sixth and final variation. Soile Stratkauskas Leopold Kozeluch (1752-1818) : Serenata in D Op.11/1 for Flute, Horn, Violin, Viola, and 'Cello

I - Adagio & Allegro molto II - Romanza (Andante) III - Menuetto IV - Rondo (Presto) - Andante - Rondo

Originally known as an acclaimed pianist, Koželuch changed the spelling of his surname by adding a ‘c’ to avoid confusion with his cousin, composer Jan Antonin Koželuh, with whom he studied for a time. Nonetheless, the first publisher of this work, André of Paris, spelt his name as Kotzeluch, perhaps to aid pronunciation, precision in these matters perhaps being somewhat less important in those days. During his lifetime his music (multiple concertos, , symphonies, cantatas) was appreciated across all of Europe but it became less well known after the pre-eminence of works by Mozart in Beethoven in the 19th century. He was offered and yet declined Mozart’s job in Salzburg after Mozart left in 1781, but in 1792 accepted the position of court composer in the Prague court vacated by Mozart on his death.! ! This charming Serenade is really a symphony for small forces: it comprises the typical movements of a symphony including a short slow introduction to the first movement. As a Serenade, it would have been composed for performance during a patron’s social gathering (probably of nobility), but the circumstances of this particular work are lost. Whether the music was for background or for active listening might not have been known in advance, and clearly Koželuch took care to produce a well-crafted composition, described by contemporaries as full of “cheerfulness and grace, noblest melody, purest harmony and most charming order of the rhythms and modulations”. How could we resist? Andrew Clark

Joseph Haydn (1732-1805) / transcribed by Johann Peter Salomon (1745-1815) : Symphony Quintetto after Symphony No.104 ('') for Flute, Violin 1&2, Viola, 'Cello

I - Adagio & Allegro II - Andante III - Minuetto 1 & 2 IV - Allegro Spiritoso

Transcribing big symphonic works was a common practice in the Classical period. The concertos and symphonies of Beethoven, Mozart, and Haydn were arranged for multiple combinations of instruments, for one or two players on the piano, piano trios with violin and cello, and sometimes with an added flute. In the absence of recording technology, the only way of reproducing great orchestral works in homes and smaller venues was to play them in arrangements for smaller forces with the instruments available. Many of these transcriptions were masterfully crafted--indeed, the work sometimes almost took on a life of its own in the chamber arrangement, the large orchestral piece becoming more intimate and conversational. Johann Peter Salomon (1745-1815) was a renowned violinist, composer, conductor and impresario. He brought (1732-1805) to London twice, in 1791-92 and 1794-95. Haydn wrote his last twelves symphonies, numbers 93 to 104, for these trips. Haydn himself conducted many of the premieres of these works, Salomon leading the orchestra from the violin. Working this closely with Haydn, Salomon indeed had a good insight to the composer's intention. Haydn handed Salomon the rights to these twelve symphonies and Salomon was free to exploit them as he saw fit. Salomon being an excellent business man was aiming to achieve the greatest possible dissemination of these works and so he published them in two separate chamber arrangements: first came the transcription for piano with optional violin and cello parts in 1796. Obviously Haydn's rich orchestral textures are heavily compromised in such a reduction. In 1798 came the quintet transcriptions for with flute and an optional piano part (which we have chosen to leave out): a combination that proved extremely successful. However, the way you are hearing the symphony tonight is somewhat of a transcription of a transcription: for extra colour, we have added a bassoon to the instruments, given that we have the opportunity of having such a wonderful bassoonist playing with us in this performance! Soile Stratkauskas