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Lucio Silla 2 MENU — TRACKLIST P. 4 ENGLISH P. 8 FRANÇAIS P. 22 DEUTSCH P. 37 Th is recording has been made with the support of the Fédération Wallonie-Bruxelles (Direction générale de la Culture, Service de la Musique) Th e Millenium Orchestra is sponsored by the Fédération Wallonie-Bruxelles (Direction générale de la Culture, Secteur de la Musique) and supported by the Loterie nationale, the Port autonome de Namur and the City and Province of Namur. www.cavema.be Recordings: Malonne, chapelle de l’Institut Saint-Berthuin, May 2016 Ettelbruck, Centre des Arts Pluriels (Don Giovanni & Die Zauberfl öte), February 2015 2 Artistic direction, recording & editing: Manuel Mohino Producer: Jérôme Lejeune Cover: Martin van Meyten (1695-1770), Concert for the wedding of Joseph II and Isabelle of Parma Wien, Schloß Schönbrun / Photo: © akg-images /Erich Lessing Th e photos of the Millennium Orchestra were taken during rehearsals for a concert and during the concert itself in the Salle Henry Le Boeuf in Brussels on 3 May 2016. Th ey are used with the kind permission of BOZAR / (p. 1, 18,19, 26, 27, 32, 44, 45): © Bertrand Th omas Photos of Leonardo García Alarcón & Jodie Devos ( p. 5 & 7) : © Jean-Baptiste Millot THE VIENNNA CONCERT 23 MARCH 1783 Wolfgang Amadeus Mozart 17561791 — 3 MILLENIUM ORCHESTRA Jodie Devos: soprano Sebastian Wienand: fortepiano Leonardo García Alarcón: direction CD I CD II D E Symphonie Haff ner, KV 385 Posthorn Serenade D-Dur , KV 320 FR 1. Allegro con spirito 8’11 1. Andante gracioso (Concertante) 6’33 Idomeneo, re di Creta, opera seria, KV 366 2. Variationen G-Dur über Unser 2. Aria: Se il padre perdei (Illia) 5’59 dummer Pöbel meint, KV 455 14’13 MENU EN Lucio Silla, opera seria, KV 135 3. Mia speranza adorata, KV 416 3. Recitativo: In un istante oh come 7’21 Recitativo: Mia speranza adorata s’accrebbe il mio timor Rondo: Ah! non sai quel pena sia 8’40 Aria: Parto, m’aff retto (Giunia) Symphonie Haff ner, KV 385 4. Andante 7’59 4 Konzert C-Dur, KV 415 5. Menuetto 3’01 4. Allegro 10’28 6. Presto 4’13 5. Andante 7’11 6. Rondeau (Allegro – Adagio – Allegro – Don Giovanni, drama giocoso, KV 527 Adagio – Allegro) 8’29 7. Ouverture 5’26 7. Eine kleine Gigue, KV 574 1’28 Die Zauberfl öte, Singspiel, KV 620 8. Ouverture 6’15 Pianoforte: Chris Maene (Ruiselede [B], 2006), after Anton Walter (Vienna, 1795, Nürnberg, Germanisches Nationalmuseum). Collection: François Ryelandt / Tunings: Chembaleros 5 MILLENIUM ORCHESTRA (2016) MILLENIUM ORCHESTRA (2015) Mieke Augustin: concertmeister (Don Giovanni & Die Zauberfl öte) David Chivers, Stéphanie de Failly, Mieke Augustin: concertmeister Juliette Roumailhac, Diana Lee, Cécile Dorchêne, Marie-Carmen Suarez, Stépha- Marie Carmen Suarez, Frédéric d’Ursel, nie de Failly, Juliette Roumailhac, Kristi Apajalahtia: violins I Frédéric d’Ursel, Catherine Ambach: violins I Sue Ying Koang, Lorea Aranzasti Pardo, Véronique Gilis, Lathika Vithanage, Isabelle Lachapelle, Amandine Beaulieu, Sue Ying Koang, Lorea Aranzasti Pardo, Marie Mooi, Jorlen Vega Garcia: violins II Mathew Greco,Amandine Beaulieu: violins II Lola Fernandez, Samantha Montgomery, Lola Fernandez, Samantha Montgomery, Joseph Mc Rae Ballantyne , Maurizio Bosone, Joseph Mc Rae Ballantyne, Jan-Willem Vis, Jan-Willem Vis, Esther Van der Eijk: violas Juliette Danel, Kathia Robert: violas 6 Annabelle Luis, Henrikke Gjermundsen Rynning, Annabelle Luis, Henrikke Gjermundsen Rynning, Eva van Ooij, Cyril Poulet: cellos Oleguer Aymami Busque, Éric Mathot, Géry Cambier, Pasquale Massaro: Tine Van Parys: cellos double basses Éric Mathot, Frank Coppieters, Géry Cambier: Anne Freitag, Olivier Riehl: fl u t e s double basses Patrick Beaugiraud, Kasia Sokolowska: oboes Georges Barthel, Manuel Granatiero: fl u t e s Vincenzo Casale, Jean-Philippe Poncin: clarinets Magdalena Karolak, Marta Blawat: oboes Jose Rordiguez Gomes, Letizia Viola: bassoons Gilles Th ome, Raphaël Vuillard: clarinets Pierre Antoine Tremblay, Rebecca Puebla: horns Eckhard Lenzing, Karin Gemeinhardt: bassoons Patrick Lehmann, Dominique Bodart: trumpets Jeroen Billiet, Mark De Merlier: horns Norbert Pfl anzer: timpani Patrick Lehmann, Dominique Bodart: trumpets Fabien Cherrier, Fabien Moulaert, Jean-Noël Gamet: trombones Norbert Pfl anzer: timpani 7 THE ACADEMY OF 23 MARCH 1783 D E FR I assure you, this is a magnifi cent place – and the best place in the world for my profession, without a doubt – everyone will tell you this. MENU Wolfgang Amadeus Mozart is describing the city of Vienna in a letter to his father dated 4 April 1781. Th is sentence, however, is actually a postscript to the letter, in which he had already described everything that he was doing in Vienna and all of the things that he had been able to fi nd out about musi- cal life in the city, including how much money he might earn. He also described the diffi culties that he was encountering with Archbishop Colloredo of Salzburg (whom he nicknamed the Archbooby), for the 8 Archbishop was doing all that he could to have Mozart return to his service in Salzburg. He concludes his postscript with the words “I feel well here, and can therefore give of my best. Be assured that my only idea is to earn as much money as possible; it is the best thing that there is, after good health”. Mozart had only been in Vienna for a short time. His opera Idomeneo had been greeted with success at its premiere in Munich on 29 January, with his father Leopold and his sister Nannerl in the audience. Th ese two then returned to Salzburg at the beginning of March; Mozart himself set out for Vienna and arrived there at 9am on 16 March. He was in fact simply obeying orders, for the Archbishop of Salzburg was in Vienna at that time and had summoned his musicians to join him. On his arrival, he was given a pleasant room in the house where the Archbishop himself was in residence. At 4pm he was required to take part in a concert that the Archbishop had arranged for some twenty members of Viennese high nobility. Matters moved swiftly: despite his father’s reproaches, Mozart decided to leave the Archbishop’s service and to settle in Vienna. He would earn his living through concerts, commissions and the giving of piano lessons to several pupils, who were mostly young ladies of the Viennese nobility. Th is refusal of a safe position with a court or a church was very much a new phenomenon, especially for a young musician who was not yet as well-established as were some of his colleagues; one of these was Christoph Willibald Gluck, with whom Mozart was to be in regular contact at the beginning of his time in Vienna. What form would these concerts, these Academies as Mozart terms them, have taken? Mozart had already realised the importance of concerts organised offi cially in Paris in 1778, when his Parisian Sym- phony was given its fi rst performance in one of the Concerts Spirituels. Th ere was, however, nothing like that in Vienna. Academies there were organised in several ways, as can be seen from a listing of those in which Mozart took part after his arrival in Vienna: 3 April 1781 for the Widows’ Benefi t at the Kärntner- 9 tortheater; 8 April 1781 for the German House; 23 November 1781 for the Auernhammers, where he performed the Concerto for two pianos KV 365 and most likely the Sonata for two pianos KV 448 with his pupil Josepha Barbara Auernhammer; 3 March 1782 at the Burgtheater; an unknown date in Decem- ber 1782 for the Minister Plenipotentiary Dimitri Michailovich Galitzine. Except for the Academy at the Auernhammers’, which was for an invited audience, Mozart’s contributions to these concerts was limited; these appearances, however, together with the premiere of his Entführung aus dem Serail on 16 July 1782, soon made his name better-known. He shifted lodgings several times before fi nding a grander apartment in July; here he would set up house with Constance Weber, whom he was to marry on 4 August 1782, despite his father’s disapproval. He was then fi nally able to organise his own Academy in Vienna, his fi rst full-scale recital in which he could present his works in all their variety of genre and mood. Th is took place on 23 March 1783. He had already taken part in an Academy organised by the soprano Aloysia Lange a few days earlier on 11 March and was to do the same for the soprano Th eresa Teyber on 30 March; in return for this they agreed to appear in his own Academy. Mozart described the success of the venture in a letter dated 29 March: “I don’t think that I need to tell you all about the success of my Academy, for you have probably already heard people talking about it. In a nutshell, the theatre could not have been fuller and all of the boxes were taken. What delighted me the most was that His Highness the Emperor was also present and he was most happy and did not cease to applaud me. He sent twenty-fi ve ducats, for the custom is that he sends a sum of money before leaving for the theatre; if it had been afterwards I would have expected more, because his satisfaction was immense”. Mozart then listed the works that were performed at this extremely long concert as follows: our version of this concert for this recording is somewhat shorter. 10 1. “Th e new Haff ner symphony”. It was expected that Mozart would include a new symphony in each of these large-scale concerts or Academies. He knew the genre well, having composed his fi rst symphony in London in 1764 and having written more than thirty more in the years preceding his arrival in Vienna, although the form seemed to hold no particular interest for him any more.
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