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Johann Christian Bach & Giovanni Marco Rutini harpsichord concertos & keyboard sonatas Luca Guglielmi Concerto Madrigalesco Johann Christian Bach & Giovanni Marco Rutini Wolfgang Amadeus Mozart (1756-1791) Johann Christian Bach (1735-1782) 3 Harpsichord Concerti after Johann Christian Bach KV 107 (21b) à Cembalo concertato, 2 Violini è Basso (1772) “...Ich liebe ihn (wie sie wohl wissen) von ganzen Herzen und habe Hochachtung für ihn...” [W. A. Mozart about J. Chr. Bach, letter no 131, 27 August 1778] Recording: 19 November 2010 (Mozart, live recording) in Teatro Bibiena, Mantova and 11-12 May 2011 (Rutini) in Chiesa di San Bernardino da Siena in Piano Audi, Corio (Italy) Giovanni Marco Rutini Recording producer: Davide Ficco ( 1723-1797) Digital editing: Roberto Chinellato Assistance: Jenny Campanella & Lorenzo Lustri Executive producer: Hanno Pfisterer 4 Selected Keyboard Sonatas Layout: Joachim Berenbold (Sonate per Cimbalo – Haffner, Nürnberg 1758-1765) Booklet editor: Susanne Lowien Translations: Sylvie Coquillat (Français), Susanne Lowien (Deutsch) “...und etliche gute Sonaten von Rutini Zum Exempl aus dem Eb, aus dem D, etc:...” CD manufactured in The Netherlands [Leopold Mozart to Maria Anna „Nannerl“ Mozart, letter no 241, 18 August 1771] + © 2014 note 1 music gmbh W.A. Mozart / J. Chr. Bach Giovanni Marco Rutini Concerto in D major KV 107,1 Sonata in E flat major Op.6 no.6 (§) (after J.Chr. Bach, Sonata Op.5 no.2) 10 Andante 3:47 1 Allegro (Cadenza: Mozart) 5:43 11 Presto assai 4:33 2 Andante (Cadenza: Mozart) 4:23 12 Allegro 3:32 3 Tempo di Menuetto – Minore – 3:46 Da Capo Tempo di Menuetto Sonata in f minor Op.5 no.5 (§) 13 Andante 1:51 Giovanni Marco Rutini 14 Allegro 3:20 Sonata in D major Op.6 no.2 (+) 15 Presto – Minuetto – Presto da capo 2:32 4 Con brio 5:25 5 Minuetto – Trio – Minuetto da capo 2:19 W.A. Mozart / J. Chr. Bach Concerto in E flat major KV 107,3 Sonata in g minor Op.6 no.5 (*) (after J.Chr. Bach, Sonata Op.5 no.4) 6 Allegro molto 3:34 16 Allegro 5:50 7 Allegro 1:34 17 Allegretto 3:47 W.A. Mozart / J. Chr. Bach Concerto in G major KV 107,2 harpsichord Pascal Taskin 1769 Concerto Madrigalesco (after J.Chr. Bach, Sonata Op.5 no.3) copy by Keith Hill, Manchester (Michigan, USA) 1996 Massimo Spadano, Liana Mosca violin 8 Allegro 4:14 harpsichord Elpidio Gregori, Sant’Elpidio 1726 (+) copy by André Restelli, Milano 2003 Bruno Cocset violoncello 9 Thema: Allegretto – Variation I-IV 4:48 harpsichord Christian Vater, Hannover 1738 (*) Xavier Puertas violone copy by André Restelli, Milano 1998 fortepiano Gottfried Silbermann, Freiberg 1749 (§) Luca Guglielmi copy by André Restelli, Milano 1996 harpsichord, fortepiano & musical direction English English Mozart’s “Maestri” Mozart’s admiration for Johann Christian Bach’s arranged from existing sonata models by other music outlasted his London encounter. His A ma- composers. In 1767 he had composed (perhaps Johann Christian Bach & Giovanni Marco Rutini jor Piano Concerto, K.414 (1783) contains a direct ‘compiled’ would be a better description) four quotation at the beginning of its Andante from such pasticcio concertos, K. 37, 39, 40, and 41, Bach’s opera, Amadis des Gaules, and Mozart effectively concerted transcriptions from sonata Of all the early musical influences on Mozart, per- quantities of instrumental and orchestral music, wrote a couple of virtuosic cadenzas (K.293e) for movements by Schobert, Honauer, Raupach and haps the strongest was his encounter with Johann especially for keyboard. Jointly with the renowned arias from Bach’s Adriano in Siria. In his corre- Eckard – all composers whom the Mozarts encoun- Christian Bach (1735-1782) whom he met during viola da gamba player, Karl Friedrich Abel (1723- spondence, Mozart is always respectful of Bach. For tered in Paris the previous year. Probably Leopold a protracted stay in London in 1764-5. Mozart, his 1787), he curated a series of extremely fashionable instance, writing to his father on 28 February 1778, felt that this process of transcription served a use- sister and father visited London during the grand subscription concerts from 1764 – the first of their from Manheim, Mozart explained: “For practice I ful educational purpose, and it is apparent from tour organized by Leopold partly to broaden his kind in England. The Bach-Abel concert series was have also set to music the aria “Non so d’onde the surviving autographs of both sets of pasticcios children’s education and partly in order to show off a hugely significant feature of the London musical viene,” [K.294] so beautifully composed by Bach. that the transcriptions were something of a joint his talented offspring to the musical world. While scene, and took place initially in premises owned by Because I know Bach’s setting so well and like it so effort. The K. 107 concertos contain a mixture of a trip across the English Channel may not origi- Teresa Cornelys in Carlisle Square, Soho. much, and because it is always ringing in my ears, Mozart’s handwriting (most of the string parts) and nally have been on Leopold’s itinerary, the Mozarts Johann Christian Bach’s music typifies the galant I wanted to see if I could nevertheless write an aria that of his father (the figured bass and keyboard remained in London from 23 April 1764 until the style of the mid-eighteenth century. Graceful and totally unlike his.” parts). The instrumentation comprises two violins, beginning of July 1765. melodious, characterized by balanced, symmetrical, On 27 August 1778 he wrote to Leopold again, this cello and keyboard, similar in nature to Bach’s own Bach’s own early training was at the hands of and contrasting melodic phrases and predominantly time from Paris: “You can easily imagine [Bach’s] Opp.1 and 7 concertos. Interspersed between the his father, though soon after Johann Sebastian’s chordal harmony (in contrast to the densely con- delight and mine at meeting again; perhaps his de- various phrases of Bach’s original sonatas Mozart death in 1750 Johann Christian travelled to Italy trapuntal textures of the baroque idiom, founded light may not have been quite as sincere as mine…I adds tutti sections featuring all of the instruments, where, in 1756, he became a pupil of the theo- on a relatively continuous rhythmic tread), Bach’s love him and respect him with all my heart.” resulting in a succession of alternating tuttis and rist and contrapuntist, Padre Martini in Bologna. fashionable galant music proved highly influential Leopold shared his son’s enthusiasm for Bach’s solos. The basic procedure may be illustrated from He became organist of Milan cathedral in 1760 on the young Mozart whose fascination with Bach’s work, in fact, encouraging his son to imitate Bach’s the first movement of the first concerto, based on (having converted to Catholicism), all the while Op.5 keyboard sonatas led to him arranging three of fine yet simple style, appropriate for amateurs Bach’s Op.5 no.2 in D (which may later have been developing a strong interest in opera. His greatest them, in D, G and E flat as concertos. Mozart must (hence saleable), and distinguishing Bach’s mastery influential thematically and structurally on Mo- operatic successes were to take place not in Italy, have encountered these pieces in pre-publication from the music of ‘bunglers’ in terms of its sound- zart’s own D major Sonata, K.284). Mozart basi- but in England. Having been appointed composer copies (or manuscripts), since Bach’s sonatas were ness of musical construction, and (famously) ‘il filo’ cally retains the succession of ideas from Bach’s to the King’s Theatre in London in 1762, his op- not published as a set until 1766 as Six Sonates pour (letter of 13 August 1778). He would certainly have sonata, including its essential melodic, harmonic era Orione was performed there in February 1763, le Clavecin ou Piano Forte, ‘Piano Forte’ perhaps agreed with Wolfgang’s opinion, on learning of and rhythmic aspects, and the distinction between attracting the attention of Queen Charlotte, and meaning both grand and square piano varieties, for Bach’s death in 1782 that this was ‘a sad day for melody and accompanimental textures, but inserts shortly thereafter Bach became her music master, it is likely that Bach performed his own sonatas on the world of music’. four tutti sections, which restate or otherwise de- cementing, for a while, his reputation and financial the very popular English Square Piano, being manu- Mozart’s ‘pasticcio’ keyboard concertos, K. 107, ploy Bach’s thematic ideas. Of the four tuttis, the security. In London, Bach also produced significant factured at this time by Johannes Zumpe. composed in 1772, were not the first Mozart had first is the longest, at nearly 30 bars, constructed 6 7 English English from the material of the two contrasting thematic Haffner, and which appeared between the mid minor Sonata Op.5 no.5 (Allegro) and Beethoven’s is the extended series of triplet quavers found in and tonal sections of Bach’s sonata exposition. The 1750s and mid 1760s. Haffner’s editions were pri- Op.2 no.1 in the same key. Dramatic interruptions the exposition (and again later in the movement) other three tutti sections (bars 70-74, 143-47 and marily of music by German composers, though a of the main tempo, surging, full chordal and ar- of the F major Sonata, K.280 (compare the writ- 148-152) function as brief interjections providing good number of Italians were also included. Also peggiated textures alternating with elegant grace- ing of the Minuetto of Rutini’s D major Sonata, structural emphasis at various points: bars 70-74 notable is Haffner’s wide geographical remit: many ful two-part episodic transitions, striking keyboard Op.6 no.2).

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