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Margarethe Danzi Wolfgang Amadeus Mozart ANTOINETTE LOHMANN VAUGHAN SCHLEPP

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Margarethe Danzi Wolfgang Amadeus Mozart ANTOINETTE LOHMANN VAUGHAN SCHLEPP FL72405-booklet+.indd, Spread 1 van 14 - Pagina’s (28, 1) 08-03-2007 09:28 Sonatas & Variations for Fortepiano and Violin Margarethe Danzi Wolfgang Amadeus Mozart ANTOINETTE LOHMANN VAUGHAN SCHLEPP FL A&R Challenge Records International: Anne de Jong Producer: Jean van Vugt Recording engineer: Onno Scholtze Recording date: March 2005, Dorpskerk, Bunnik (NL) Notes: Antoinette Lohmann Translations: Felicity Goodwin, Vaughan Schlepp, Tilman Skowroneck, Antoinette Lohmann Sleeve design & Cover photo: Marcel van den Broek Special thanks to: ThuisKopie Fonds FL72405-booklet+ ins.indd 1 08-03-2007 09:56:20 FL72405-booklet+.indd, Spread 2 van 14 - Pagina’s (2, 27) 08-03-2007 09:28 ALSO AVAILABLE: Joseph Martin Kraus: Sonatas & Trio Vaughan Schlepp, Antoinette Lohmann, Frank Wakelkamp FL72404 (2CD) “Antoinette Lohmann, who plays on an historical violin, is accompanied by Vaughan Schlepp on fortepiano. The dialogue between the two of them could almost be called symbiotic. The balance of their expressive phrasing is simply perfect”. “Antoinette Lohmann and Vaughan Schlepp explore the entire range of expressive possibilities with the utmost sensitivity and a keen sense for subtle nuance”. “What makes this recording so attractive right from the start is the directness of the sound quality. Listening to this outstanding reading with headphones reveals to an even greater extent the fine nuances, use of changes of colour and dynamic accents. The austere and yet unusually flexible sound of the historic instruments has been splendidly captured”. (www.klassik.com/magazin/review, april 2006) “This extensive project is performed with admirable competence by three well-matched musicians. Violinist Antoinette Lohmann in particular achieves an expressive spectrum and suggestive narrative power that lead the listener naturally through the works. Her partners attain the same degree of concentration which at times 27 even presents itself as true devotion”. (Pizzicato, march 2006) FL72405-booklet+ ins.indd 2 08-03-2007 09:56:21 FL72405-booklet+.indd, Spread 3 van 14 - Pagina’s (26, 3) 08-03-2007 09:28 Vaughan Schlepp was born in Tokyo in on fortepiano and Hammerklavier with 1956. He received his first piano lessons violinist Antoinette Lohmann have met with in England, where he played his first wide acclaim. Vaughan Schlepp is intensively performance at the age of five. He continued involved with modern music and theatre, his studies in the United States, played his and is active as a teacher and coach for both first piano concerto when he was twelve singers and instrumentalists. and graduated magna cum laude from the Since 1989, he has been in demand as an Eastman School of Music in New York, arranger, music typesetter and publisher. where he studied with Maria Luisa Faini. He has been given assignments by Bernard His interest in early music took him to The Huijbers, Anner Bijlsma, Vera Beths, Gustav Netherlands for study with Gustav Leonhardt. Leonhardt, Schott, the Loeki Stardust As a performer on the harpsichord as well Quartet, the Amsterdam Marionetten Theater, as on the 18th-century fortepiano, the 19th- the Dutch Broadcasting Corporation and century Hammerklavier and the modern Sony. He is also in great demand as a maker of Sonatas & Variations piano, Vaughan Schlepp has given numerous delicious coffee (‘Schleppuccino’) with a dash for Fortepiano and Violin recitals and master-classes throughout the of maple syrup. world as well as having made recordings for Margarethe Danzi radio, television and CD. He has performed Wolfgang Amadeus Mozart as soloist with orchestras in The Netherlands ANTOINETTE LOHMANN and America, and concertizes regularly as a VAUGHAN SCHLEPP chamber musician with such diverse artists as Anner Bijlsma, Lucy van Dael and Barbara Schlick. As continuo and solo organist he has participated extensively in the successful 26 recordings of the complete Bach Cantatas which were released in 2001. His recordings FL72405-booklet+ ins.indd 3 08-03-2007 09:56:21 FL72405-booklet+.indd, Spread 4 van 14 - Pagina’s (4, 25) 08-03-2007 09:28 About the performers for string trio and bassoon by Margarethe’s husband Franz Danzi and the two quartets for Antoinette Lohmann (Amsterdam, 1969) 2 violas, cello and bassoon by Franz Krommer MARGARETHE DANZI (1768-1800) studied violin with Jean Louis Stuurop, with a quartet called ‘island’. For Slot Zuylen Trois Sonates pour le Piano Forte avec Violon Oblige. Composées par Madame Danzi née Marchand. viola with Esther van Stralen and baroque she recorded compositions of Belle van Zuylen Oeuvre I, Munic chez Mac: Falter violin with Lucy van Dael at the Sweelinck (who became famous as a writer and is also Conservatorium in Amsterdam. Antoinette known as Isabelle de Charriére) and wrote an Sonata I in E flat major has always performed in a very diverse range extensive CD-booklet on music and on Belle’s 1 Allegro moderato 8:20 of musical styles, among them Argentinian life. Recently a CD with 17th-century Dutch 2 Andante 4:31 tango, folk music, contemporary music, music in combination with 17th-century Dutch 3 Allegretto 5:10 musical theatre and salon music. Since art was released in a series of museum gifts. 1997 Antoinette has focussed on historical Antoinette is also the leader of the Utrechts Sonata II in B flat major performance practice on violin, viola, tenor Barok Consort, a group that mainly performs 4 Allegro moderato 7:24 viola and viola d’amore, from the early forgotten operas and oratorios by little-known 5 Andante amoroso 7:40 baroque to the late 19th century. composers of the 17th and 18th centuries. 6 Allegro vivo 3:32 Together with Vaughan Schlepp, she has With this group she recently performed her recorded the sonatas for fortepiano and own reconstruction of a Bach viola concerto. Sonata III in E major violin by Joseph Martin Kraus. This 2 CDset Currently she performs frequently with 7 Allegro moderato 7:33 was also released by Challenge Records Musica Temprana (South American baroque/ 8 Andante quasi Allegretto 4:07 (FL72404) and was very positively received folk music), Ensemble Schönbrunn and The 9 Allegretto 5:37 in both national and international press. With Netherlands Bach Society. Cappella Figuralis she made several recordings Antoinette teaches baroque violin and baroque of mainly northern European Baroque music, viola at the Utrecht Conservatory (The such as Buxtehude’s Membra Jesu Nostri and Netherlands) and loves garlic and cinnamon. 4 the first version of J.S. Bach’s St. John Passion. 25 Other recordings include the 3 quartets FL72405-booklet+ ins.indd 4 08-03-2007 09:56:21 FL72405-booklet+.indd, Spread 5 van 14 - Pagina’s (24, 5) 08-03-2007 09:28 of Mozart’s title can, however, no longer be accordingly can be accomplished only when traced but it is tempting to speculate that the recording technique does not interfere Mozart invented the title himself. Listening in any way. Jean and Onno use a minimum to these variations, it takes little fantasy to number of microphones in their effort to WOLFGANG AMADEUS MOZART (1756-1791) see how such a title arose and to imagine the reproduce the effect of a live concert rather various emotions associated with such a loss. than a heavily manipulated studio recording. 10 Sechs variationen über ein Andantino 13:19 G minor, a pensive, melancholy key, expresses The musicians are thus free to determine the ‘Hélas, j’ai perdu mon amant’ in G minor, KV 360 (374b) discontent, resentment and bitterness, sound and balance themselves, as they must misery and grief. Only the fifth variation in a performance. In this way justice is done makes a fleeting visit to the soft restfulness to the musical ideas so that the expression total time 67:18 and simplicity of G major, and then makes a and the musical concept of the artist remain transition to the final, most stirring variation paramount. that finally leads back to the theme that now, as if it were possible, sounds even more tragic Jean van Vugt and Onno Scholtze both than it did the first time. worked for many years for Philips Classics. They have worked with artists such as I About the recording Musici, Brendel, Camerata Trajectina, Uchida, It’s a great pleasure to work with Jean van Kocsis, Previn, Lieberman, Zuckerman, Vugt and Onno Scholtze, whose recording Koopman, Gardiner, Barenboim, Marriner, technique conforms with our aims in Gergiev, Muti, Haitink, Kremer, te Kanawa, performance. As performers it is our goal Norman, Carreras, Mullova, Takemitsu, to approach every note, every melody and the Vienna Philharmonic, the Berlin every chord in context of its function. Every Philharmonic, the Concertgebouw Orchestra, on period instruments: note has its own colour within the harmonic the San Francisco Symphony, the L.A. Vaughan Schlepp, fortepiano (copy after Stein, appr. 1785, P. McNulty) 24 structure, each part shifts in its role as Symphony and the Toronto Symphony. Antoinette Lohmann, violin (G. Piattelini, 1770) 5 accompaniment or solo, and to play the piece FL72405-booklet+ ins.indd 5 08-03-2007 09:56:21 FL72405-booklet+.indd, Spread 6 van 14 - Pagina’s (6, 23) 08-03-2007 09:28 Two of Leopold Mozart’s students: own right when they are handled consciously. her female counterparts, such as Maria Margarethe Danzi (1768-1800) Only in this way can the idiomatic differences Hester Park, Franziska Lebrun and Maria between both instruments be used to support Barthélemon, for whom composition was Wolfgang Amadeus Mozart (1756-1791) each other. The violin is, for example, more essentially a hobby. Although one would rather capable of producing long, sustained notes, avoid comparison, it becomes inevitable: The Introduction we know relatively little about Margarethe, thereby creating the impression that the sound work of Margarethe is in every respect more Little is known about the composer, pianist, her connection with Leopold Mozart gives of the keyboard is also more sustained.
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