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Horn Concertos MICHAEL & JOSEPH HAYDN Horn Concertos PREMYSLˇ VOJTA FABRICE MILLISCHER HAYDN ENSEMBLE PRAGUE MARTIN PETRÁK MICHAEL & JOSEPH HAYDN Horn Concertos MICHAEL HAYDN (?) (1737-1806) Concerto per il Corno principale D-Dur / in D Major, MH 53 (Hob.VIIb:4?) 1 Allegro moderato 06:23 2 Adagio 05:27 3 Allegro 04:23 MICHAEL HAYDN Concertino per il Corno e Trombone (aus / from: Serenata D-Dur / in D Major, MH 86)* 4 Adagio 07:56 5 Allegro molto 06:52 Concertino per il Corno D-Dur / in D Major, MH 134 6 Larghetto 06:44 7 Allegro ma non troppo 05:42 8 Menuetto – Trio 03:15 JOSEPH HAYDN (1732-1809) Concerto per il Corno da caccia D-Dur / in D Major, Hob.VIId:3 9 Allegro 06:34 10 Andante 07:00 11 Finale. Allegro 03:50 Total Time 64:34 PREMYSLˇ VOJTA Horn FABRICE MILLISCHER Trombone* HAYDN ENSEMBLE PRAGUE · MARTIN PETRÁK Recording Location: VII 2017, Pražská kˇrižovatka / Prague Crossroads P 2017 Pˇremysl Vojta, under exclusive licence to Avi-Service for music, Cologne/Germany g 2018 Avi-Service for music Recording Producer, Editing, Mastering: Martin Stupka (MataSound) All rights reserved · 42 6008553931 4 · Made in Germany · LC 15080 · STEREO · DDD Kadenzen / Cadenzas: Uri Rom · Publishers: 1-3 after Breitkopf & Härtel Design: www.BABELgum.de ·Translations: Stanley Hanks · Fotos: © 2017 Vojtˇech Havlík 4-5 Trésors du passé · 6-8 Universal Edition GmbH · 9-11 Henle www.avi-music.de · www.premyslvojta.com · www.fabricemillischer.com · www.haydnensemble.com ANMERKUNG ZU URI ROMS KADENZEN A NOTE ON URI ROM‘S CADENZAS Über die Solokadenz schrieb Johann Joachim Quantz 1752 in seinem berühmten Versuch einer In his famous flute treatise of 1752, Johann Joachim Quantz writes regarding the solo cadenza: Anweisung die Flöte traversière zu spielen: „Die Absicht der Cadenz ist keine andere, als die Zuhörer “The aim of the cadenza is to surprise the unsuspecting listener at the end of the piece and to leave noch einmal bey dem Ende unvermuthet zu überraschen, und noch einen besonderen Eindruck in behind some special impression.” With this in mind, I sought in the set of cadenzas supplied for the ihrem Gemüthe zurück zu lassen.“ Infolgedessen versuchte ich in den Kadenzen, die ich für die vorliegende current recording of Joseph and Michael Haydn’s horn concertos to engage in an original, “surprising” Aufnahme der Hornkonzerte Joseph und Michael Haydns schrieb, in einen originellen, „überraschenden“ dialogue with the musical material of the respective movements. Thus, each of the cadenzas offers some Dialog mit dem musikalischen Material der jeweiligen Sätze zu treten. Auf diese Weise wartet jede dieser twist, such as the melancholy opening of the cadenza for the otherwise thoroughly joyful last movement Solokadenzen mit einer etwas unerwarteten Wendung auf, z.B. der melancholische Einsatz der Kadenz of Michael Haydn’s Horn Concerto, or the contest of trills between the horn and the trombone concluding im ansonsten ausgelassen-fröhlichen letzten Satz des Hornkonzertes von Michael Haydn (MH 53) oder der the first movement cadenza for the same composer’s Concertino. All cadenzas carefully observe the Trillerwettbewerb zwischen Horn und Posaune am Schluss der Kadenz des 1. Satzes im Concertino limited choice of notes available on the natural horn written for by the Haydn brothers. This, however, desselben Komponisten (MH 86). Alle von mir gelieferten Kadenzen beachten den begrenzten Vorrat doesn’t make them per se “historically oriented.” In fact, the written-out eighteenth-century cadenzas an Noten auf dem Naturhorn jener Zeit, für welches die Haydn-Gebrüder ihre Konzerte schrieben. Dies that came down to us are almost exclusively for keyboard concertos or opera arias—as a result, our bedeutet jedoch nicht, dass diese Kadenzen prinzipiell „historisch orientiert“ sind. Eigentlich stammen understanding of what a cadenza for a melodic instrument may have sounded like at the time mainly fast alle überlieferten ausgeschriebenen Kadenzen des 18. Jahrhunderts entweder aus Opernarien oder relies on a couple of rules for making cadenzas given by contemporary theorists as well as the repeated aus Konzerten für Tasteninstrumente. Daher können wir uns nur auf ein paar Regeln von zeitgenös- complaint that soloists tended to take them too long… The cadenzas offered here, composed in close sischen Theoretikern für die Komposition von Kadenzen verlassen. So übertreffen womöglich die consultation with the main soloist of this recording, Pˇremysl Vojta, possibly surpass many of their Kadenzen, die hier erklingen und die in enger Zusammenarbeit mit Pˇremysl Vojta entstanden, viele der (undocumented) eighteenth-century counterparts in terms of size, virtuosity and stylistic variety. nicht-dokumentierten Solokadenzen des 18. Jahrhunderts an Umfang, Virtuosität und stilistischer Uri Rom: The Israeli composer, conductor and musicologist studied in Tel Aviv, Basel and Berlin and Bandbreite. received his PhD from the Berlin Technical University writing on Mozart’s use of the keys; in 2011, Uri Rom: Der israelische Komponist, Orchesterdirigent und Musikwissenschaftler Uri Rom studierte he was summoned to teach music theory at the Buchmann-Mehta School of Music at Tel Aviv Uni- in Tel Aviv, Basel und Berlin. Seine Doktorarbeit schrieb er an der Technischen Universität Berlin versity. In his music, Uri Rom opts for a new tonal style, mediating between old and new, “serious” über die Verwendung der Tonarten bei Mozart. 2011 erhielt er den Ruf, Musiktheorie an der Tel and “popular.” Aviver Buchmann-Mehta Musikhochschule zu lehren. Seine Musik ist an einem neuen tonalen Stil Please see further information under www.avi-music.de/notes orientiert: ein musikalischer Brückenschlag zwischen alt und neu, E und U. Ausführlichere Angaben bei www.avi-music.de/notes 4 HORNKONZERTE VON MICHAEL UND JOSEPH HAYDN Die Frage, wie viele Hornkonzerte Joseph Haydn und sein fünf Jahre jüngerer Bruder Michael geschrieben Frau war 1762 Taufpatin einer Tochter Leutgebs), und auch die hohen technischen Anforderungen haben, ist nicht einfach zu beantworten. Da trifft man einerseits auf Verschollenes, andererseits auf des Konzerts sprechen für ihn als Adressaten. 1763 wurde Leutgeb Mitglied der Esterházy’schen Fehlzuschreibungen oder Werke, deren Authentizität zumindest fraglich ist. Ein Konzert wurde in der Hofkapelle, verließ diese aber schon nach kurzer Zeit wieder. Es könnte durchaus sein, dass er dabei musikwissenschaftlichen Forschung sogar sowohl für Joseph wie für Michael Haydn reklamiert – das Autograph des Hornkonzerts mit sich nahm (und Haydn nicht einmal eine Abschrift davon behielt), und stammt womöglich von einem ganz anderen, bislang nicht identifizierten Autor. denn die Solisten, denen die Konzerte „auf den Leib“ geschrieben wurden, hatten ein exklusives Beide Brüder schrieben die meisten ihrer Konzerte – für die verschiedensten Soloinstrumente – in derselben Nutzungsrecht. Daher waren sie meist auch darauf bedacht, dass keine Abschriften in Umlauf kamen, Situation, nämlich nachdem sie Leitungspositionen bei bedeutenden Hofkapellen angetreten hatten: und folglich liegen Haydns Konzerte – ganz anders als etwa seine Sinfonien und Messen, die oft in Joseph Haydn 1761 als Kapellmeister der Fürsten Esterházy, Michael 1763 als Konzertmeister am Dutzenden Abschriften überliefert sind – stets in nur wenigen Quellen vor. Erzbischöflichen Hof in Salzburg. In beiden Orchestern wirkten sehr virtuose Musiker, und zu den Aufgaben des Kapellmeisters wie des Konzertmeisters gehörte es, Werke zu komponieren, in denen Im Verzeichnis der Werke Joseph Haydns von Anthony van Hoboken wird 1957 mit Hob.VIId:4 ein diese mit ihren außergewöhnlichen Fähigkeiten vor den Dienstherren brillieren konnten. weiteres Hornkonzert genannt (nach den beiden verschollenen und dem im Autograph überlieferten Joseph Haydn als dem berühmtesten Komponisten seiner Zeit wurden im 18. und 19. Jahrhundert viele Hob. VIIId:3). Dasselbe Konzert findet sich jedoch ebenfalls in dem 1993 von Charles Sherman und Stücke fälschlich zugeschrieben, oft mit Absicht, weil sie sich unter seinem Namen besser verkaufen Donley Thomas herausgegebenen Verzeichnis der Werke Michael Haydns, unter der Nummer MH 53. ließen. Glücklicherweise hat er selbst der Nachwelt Werkzeuge in die Hand gegeben, zwischen echt Als Nachweis der Autorschaft wird in beiden Verzeichnissen die einzige erhaltene Quelle genannt: und unecht zu scheiden: Ab 1765 führte er eigenhändig ein Verzeichnis seiner Kompositionen, und eine Abschrift in Stimmen aus einer Sammlung in Zittau (heute in der Sächsischen Landes- und 1805 ließ er in Rückschau auf sein Lebenswerk einen weiteren solchen Katalog anlegen. Diese Universitätsbibliothek Dresden). Verzeichnisse enthalten zwei Hornkonzerte (eines davon mit zwei Hörnern), die jedoch verschollen Sie entstand in einer Leipziger Musikalienhandlung und wurde in deren Katalog 1781 als Concerto sind – wie auch seine Solokonzerte für Flöte, für Kontrabaß und für Fagott. Überraschenderweise da Haydn a corno pincipale angeboten. Auch bei der Autorangabe auf der Stimmenabschrift („Del fehlt dagegen das einzige erhaltene Hornkonzert Joseph Haydns in diesen Werkkatalogen. Seine Signore Hayden“) findet sich kein Vorname. Somit scheint zunächst jeder der beiden Brüder als Echtheit steht dennoch außer Frage, denn es ist im Autograph überliefert. Vermutlich lag Haydn Autor denkbar. Joseph Haydn ist als Komponist aber auszuschließen. Die Existenz nur einer einzigen diese eigenschriftliche Partitur beim Erstellen der Werklisten nicht vor, sondern befand sich im
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