HYBRID MUL

TICHANNEL (1756-1791)

Piano Concerto No. 24 in C minor K. 491 1 Allegro 14. 14 Cadenza: Lars Vogt 2 Larghetto 7. 37 3 Allegretto 9. 14

Piano Concerto No. 13 in C major K. 415 4 Allegro 10. 43 Cadenza: W. A. Mozart 5 Andante 9. 01 Cadenza: W. A. Mozart 6 Rondeau (Allegro) 9. 11

Martin Helmchen, piano Chamber Orchestra Gordan Nikoli´c, Leader

Recorded April 2007 at the Philharmonie, Haarlem, The Netherlands Executive / Recording Producer: Job Maarse Balance Engineer: Jean-Marie Geijsen Editing : Matthijs Ruiter Total playing time : 60. 13 The Steinway & Sons grand piano has been supplied by Ypma Piano’s Alkmaar - Amsterdam

Artikel Ronald Vermeulen und Biographien auf Deutsch und Französisch finden Sie auf unseren Webseite. Pour les versions allemande et française des biographies et l’essai de Ronald Vermeulen, veuillez consulter notre site. www.pentatonemusic.com Mozart’s Piano Concertos special thanks to PentaTone for grant- K.491 and K.415 ing me the extraordinary freedom, from the start, of recording the reper- hen I asked Job Maarse in toire that means most to me artistically WFebruary what he had in mind at that moment. for our first CD, he replied as follows: Why did I happen to choose pre- “Why not two Mozart concertos?”. cisely these two concertos, given I was immediately enthusiastic, as the choice of the entire marvel- I just happened to be – and still am lous universe of Mozart concertos? – in a “Mozart” phase. But my next Mozart’s piano concertos are a part thought was: would it not be better of every ’s life, from a young to select something more unusual for age onwards, and the Piano Concerto a solo début CD? For instance, reper- in C, K.415 was the first piece that I toire to really make people sit up and was allowed to play with an orches- notice? After all, Mozart again, right tra as a child. I shall never forget the after the intensely celebrated Mozart feeling of bliss, when the sound of year? Although one cannot help but my piano joined that of the orchestra think this, these thoughts soon disap- to form such a miraculous entity. To pear when one considers the constant this day, I still have a special love of miracle of Mozart’s music: it never making music together with others, becomes a drag, and even after hav- each instrument complementing the ing been doled out in the maximum other. Once again, the Piano Concerto daily “dose” for the past year, his com- in C minor, K.491 was the first of the positions occupy an increasingly large “major” concertos to grab me at an place in our hearts. It is truly “eternal early age, due to the tragedy and dark music”, and recordings made in 100 expressivity contained within. Both years’ time will still be exciting and works form a tremendous contrast, justified, not just because there is a which is immediately apparent when different person to interpret the music comparing the C-minor episode in and different audiences to hear it. In the third movement of K.415 with the that respect, I would like to express my basic mood of K.491. The same key, yet two different worlds – the first is not come across in such a fashion in one of beauty, which communicates any other composer. happiness despite all the sorrow, a The cadenza for the first movement naïve lament, which reminds one in K.491, which I play on this recording, of Barbarina’s “L’ho perduta… me was written by my good friend Lars meschina!” from Figaro; the second, Vogt. I heard him playing it once in a full of despair, dark foreboding and concert, and immediately felt that this tension, leaving behind a feeling of expressed my own idea of a cadenza deep distress. for this concerto more aptly than any While I was working on the C-minor of my own attempts. I would also concerto, there was a moment when I like to thank Gordan Nikoli´c and the felt I was learning more about Mozart Netherlands Chamber Orchestra for than I would have learned through the delightful experience of the record- reading a whole pile of books. My ing sessions, which were characterized revered teacher Arie Vardi gave me a by spontaneity, the pleasure of making copy of the manuscript to study, and music, and a shared love of Mozart. drew my attention to some peculiar caricatures of faces, which Mozart had Text: drawn in the first movement between English translation: Fiona J. Stroker-Gale the notes. Upon closer observation, one can see that an attempt he made to draw a repeat sign probably failed, Mozart Piano Concertos leaving it to look rather like a dis- torted face. So he made a game of it n August 4, 1782, Wolfgang by also drawing these weird faces in OAmadeus Mozart married his similar places. In other words, in the beloved Constanze Weber in the most dark and moving music that one Stefansdom. The previous could ever imagine, he also included month, his opera Die Entführung aus grimaces and pranks. A characteris- dem Serail (= The Abduction from the tic of Mozart, which leaves us feeling Seraglio) had received its première in totally bewildered, and which we do the Burgtheater. In all respects, it was a busy period, as it is clear from a let- purposes, and he was painstakingly ter penned by Mozart to his father on careful that no-one got their hands on December 28: “The entire morning, the manuscripts before the first public until 2 in the afternoon, is taken up with performances: however, he offered the lessons, then we eat, and after sitting at concertos to various publishers almost table I have to grant my poor stomach immediately. an hour for the digestion: then all that As is clear in the above-mentioned remains is the evening during which fragment taken from a letter, Mozart I can write something, and not even had already taken into account in that is certain, as I am at times invited his style of writing that the con- to Academies. At present, I still need to certos should appeal to both the write two more concertos for the sub- professional and the amateur musician. scription concerts. The concertos strike Furthermore, he had made sure in the a balance between the serious and the orchestration that the winds were light, they are very brilliant, pleasant not given any “independent” parts, to the ear, natural, without sounding thus making it possible to do without vacuous: here and there, I make sure them, if so required. This increased that the connoisseur can also reap the appeal of the works for the many satisfaction from the work, yet in such ‘Liebhaber’ (= devotees), the (noble) a manner that the non-connoisseur is amateurs who played music together also satisfied, without perhaps quite privately within their circle of friends, understanding why.” and would therefore be able to perform The piano concertos to which the piano concertos to the accompani- Mozart was referring, and which he ment of a string quartet. was planning to perform during his In the Wiener Zeitung (= a subscription concerts the following Viennese newspaper) of January 15, year, were the Piano Concertos Nos.11 1783, Mozart announced that interested – 13 (K.413 – K.415). These concertos parties could order the three piano prove Mozart to be a pure-bred musical concertos from him in manuscript cop- entrepreneur. Naturally, he had written ies – however, this offer was valid only the concertos for his own performance for those who had also subscribed to his Academies. Unfortunately, this Life remained busy for Mozart in announcement probably did not have 1783. As a solo pianist, he was invited the expected result, because by April to play so often, that he was perform- Mozart was offering the concertos to ing at some venues almost every week. various publishers. Mozart’s father, And his friends also regularly asked Leopold, was afraid that his son had him to perform as guest soloist during offered the works at too high a price. their concerts. Thus Mozart’s sister-in- However, Mozart reacted to this with law, Aloisia Lange – the first Madame marked self-assurance: “Please do not Herz in Der Schauspieldirektor (= The fear that the three concertos are too Impresario) and Donna Anna in Don expensive, I believe that I am earn- Giovanni – gave an Academy on March ing one ducat for each concert – and 11, 1783, which Mozart also attended. then I would like to see how one of He wrote as follows to his father: them could be copied for a ducat! “Yesterday my sister-in-law Lange They cannot be copied, as I will not gave her Academy at the theatre, dur- relinquish them before receiving ing which I also played a concerto. The a certain number of subscriptions. theatre was very full, and I was once They have been placed in the Wiener again received by the local audience Diarium for the third time now: I have in such a delightful manner, that it offered the subscription tickets since has given me true pleasure. Although the 20th of this month for 4 ducats to I had already left the hall, the audience be paid in cash only, and during the would not stop applauding, and I had month of April, the concertos can be to return to repeat the Rondo; the ova- collected from me upon return of the tion sounded like a true ‘cloudburst’. ticket – my dear sister will send the This augurs well for my own Academy, cadenzas and entrances (= kind of which I will be holding on Sunday, improvised cadenza) shortly; I have March 23.” not yet changed the entrances to the The concerto performed by Mozart Rondo, as I always play whatever is probably the same one he played comes to mind when performing this during his own Academy, i.e. the concerto.” Piano Concerto in C, K.415. Quite a lot is known about that Academy, which worries and laugh, flirt, tease and was held at the Nationaltheater on make jokes amongst their groups of March 23. The concert took place right friends.” in the middle of the carnival season, If we are to believe the composer, traditionally the busiest period in the Mozart’s concert must have been an music world, before the closing of the enormous success. Even the emperor theatres for Shrovetide. In general, the was present during the concert, which Nationaltheater was used for German- was a special honour. On March 29, language theatrical performance; Mozart described the concert to his however, every so often concerts were father Leopold, emphasizing the fact also held there. It was a theatre where that the emperor remained for the the ‘beau monde’ and the plebs met entire duration of the concert, which and mingled, as described in Johann was apparently remarkable at the time. Pezzl’s ‘Sketch of Vienna’ from 1786: “I believe that it is not necessary to “It is always a pleasure to sit in the pit write to you in great detail of the suc- before the curtain rises. The members cess of my Academy, you will perhaps of the high society arrive in their best already have heard of it. Enough, the attire, their expressions are engaging theatre could scarcely have been more and pleasant, completely in accordance full, and all the boxes were occupied. with the adage ‘Spectatum veniunt, However, what gave me most pleasure, spectantur ut ipsae’ (= they come to was that His Highness the Emperor see and to be seen themselves). They was also present, and that he enjoyed form a collection of unusual men: min- himself so much, and applauded my isters, whose faces mirror important music so loudly. It is unusual for him plans, generals with scars received in to part with his money before enter- wars fought in defence of the father- ing the theatre, otherwise I would have land. I cherish watching these people had every right to hope for more, for as much as I enjoy the spectacle on his satisfaction was limitless. He sent stage. Especially, I watch all the people 25 ducats.” who are generally occupied with seri- During the eighteenth century, ous matters, but now shake off their newspapers did not often publish reviews of concerts. Neither yet did stories of Mozart as a misunderstood, the phenomenon of the music maga- poverty-stricken artist are basically a zine exist. One of the first publications set of fabrications. entirely dedicated to music to appear The Piano Concerto in C, K.415, was Cramer’s Magazin der Musik, begins with the martial motif that may which included a short article referring rather be considered as Mozart’s musi- to Mozart’s Academy on May 9, 1783, cal signature. The presence of trumpets in which once again the presence of the and kettledrums, and the key of C major, emperor was given a special mention. reinforce the majestic character of this “This evening the famed Herr Cavalier opening movement. During the eight- Mozart held a musical concert at the eenth century, a direct relationship still Nationaltheater, during which musical existed between the choice of keys and works from his oft-praised pen were their individual effect. The theoretician performed. The concert was attended Schubart describes the key of C major by an extraordinarily large audience, as “pure, innocent, simple, naive”; his and the two new piano concertos and Italian colleague Galeazzi calls it “gran- other fantasias played by Herr Mozart diose, militaristic, serious, majestic”; on the fortepiano were greeted with and the French composer Gretry men- loud applause. Our emperor, who tions the terms “noble and honest.” remained for the entire concert, against The great masterpieces written by his custom, gave the composer such a Mozart in this key – which include the hand of applause, the likes of which Piano Concertos K.476 and K.503, the have ne’er been heard in this venue. String Quintet K.515 and, naturally, the The takings from the concert are esti- Jupiter Symphony K.551 – prove that mated at around 1,600 florins.” he must have sensed the same kind Although it is difficult to ascer- of association. The character of the tain the present-day value of such an Andante is pastoral. The final Rondo amount, it is fair to state that Mozart resembles a gigue. The entrance of the certainly did well out of this Academy. piano after the opening tutti is striking: In the light of this kind of reporting, it an extremely serious adagio, which becomes clear that the romanticised returns to the exuberance of the main theme only by means of an improvised this war led to the dissolution of court cadenza (‘Eingang’). orchestras, and the well-to-do – who In 1786, Mozart was also extremely had always subscribed to Mozart’s busy. That year, he composed three concert series in the past – increas- piano concertos, of which the one in ingly failed to appear. They simply did C minor is the second – the other two not have the money for this any more, are in E flat, K.482 and A, K.488. After or they had fled the city of Vienna in these works, Mozart set the genre the meantime in order to seek refuge to one side. Only after two years elsewhere. had passed, did he write the famous Nevertheless, Mozart was pros- Coronation Concerto, which he first pering, thanks to lucrative opera performed in 1789. At that time, Mozart assignments. In February, his new was probably also working on his final Singspiel Der Schauspieldirektor piano concerto, the one in B flat, K.595; (= The Impresario) had received its however, he did not complete the work première in the orangerie at the until January 5, 1791. It is often said Schönbrunn palace; and a month later, that Mozart’s popularity took a nose- he conducted the revised version of dive during those years, and that this his opera Idomeneo at the palace of was the reason for his performing less Prince Auersperg. frequently – and thus also writing less On April 7, 1786 Mozart performed new piano concertos. However, this in his last concert of the season at the assumption can be disproven easily, if Burgtheater. We know little about the we look at the demand for his music. programme, but it is likely that his His works were still being published performance included his new Piano and sold, and his teaching practice was Concerto in C minor, which he had flourishing. The actual reason is more completed on March 24, according to likely the fact that the concert scene, his own catalogue. Now, in this case, supported to a large extent by the ‘completed’ is a rather grandiose term, aristocracy, had been put somewhat for the solo part was only sketched in, on the backburner, due to the Turkish as we can see in the existing manu- war. The economic slump caused by script. Furthermore, there are some contradictions between the piano Piano Concerto in C minor was one part and the orchestral parts. The rea- of ’s favourites, son for this is simple: Mozart was just and he used the introductory motif in too busy. Not only had the revision of his own Piano Concerto No.3, which is Idomeneo taken up a great deal of time, written in the same key. in addition, he had been performing in Mozart experiments with the form various concerts and was planning to in his Piano Concerto in C minor. The give the première of his new opera Le sombre opening is already unusual. nozze di Figaro on May 1. Preparations But even more remarkable is the for this event were also underway. As manner in which – during the first Mozart had written the piano concerto movement – Mozart already begins for his own performing purposes, and the development whilst in the middle therefore simply improvised the solo of the exposition, thus demolishing the part on the spot, it was not necessary pillars of the formal structure. The final for him to write down all the details. movement is a series of variations on It was not his custom to completely a dark theme, with the contours of specify all points in his composition, the rondo form clearly visible in the until he actually published a concerto. background. There are two varia- However, the work was never pub- tions in the major key, which form an lished during Mozart’s lifetime, which almost serenade-like intermezzo with explains the ramshackle condition of solo contributions from the winds. It the material. is a shame that we do not possess any The Piano Concerto in C minor, contemporary reviews of, or reactions K.491 is one of only two piano concer- to, this remarkable concert. Without a tos written by Mozart in a minor key doubt, the thematic wealth and power (the other being the Piano Concerto of the work must have been over- in D minor, K.466). Both works dem- whelming, perhaps eliciting just such onstrate the more dramatic side of a reaction as is described by Mozart’s Mozart’s personality. The D-minor colleague Karl Ditters von Dittersdorf: concerto is generally associated “Mozart is without a doubt one of the with his opera Don Giovanni. The greatest original geniuses ever to have lived. To this day, I have never met a Orchestras with which Martin composer with such a wealth of ideas. I Helmchen has performed include: the just wish he were not quite so wasteful Deutsche Sinfonie-Orchester Berlin, of them. The audience is not permit- RSO Stuttgart, Bamberg Symphoniker, ted to regain its breath: for when one NHK Symphony Orchestra, Berlin is trying to savour one beautiful idea, Radio Symphony Orchestra, Deutsche another wonderful idea is sure to turn Kammerphilharmonie Bremen, Royal up, supplanting the previous one. And Flemish Philharmonic, BBC Symphony this happens so continuously, that in Orchestra, and the chamber orches- the end one is no longer capable of tras of Zurich, Amsterdam, Vienna, retaining any of these gems.” Lausanne, Cologne and Munich. He has worked with conductors such as Ronald Vermeulen Marek Janowski, Philippe Herreweghe, English translation: Fiona J. Stroker-Gale Marc Albrecht, Vladimir Jurowski, Jiri Kout, Bernhard Klee, and Lawrence Foster. Martin Helmchen has been a guest Martin Helmchen at the Ruhr Piano Festival, Kissinger Summer Festival, the Festivals in artin Helmchen was born in Berlin Lockenhaus, Jerusalem, Spoleto Min 1982. He received his first (Italy), the Rheingau Music Festival, piano lessons at the age of six. From the Spannungen Chamber-Music 1993 until graduating from school Festival in Heimbach, the Mecklenburg- in 2000 he was a student of Galina Vorpommern Festival, the Schwetzinger Iwanzowa at the Hanns Eisler Academy Festival, the Schleswig-Holstein in Berlin. After 2001, he studied with Festival, as well as the Marlboro Arie Vardi at the “Hochschule für Musik Festival in Vermont (USA). und Theater” in Hannover. His career is a highly valued received its first major impulse after part of Martin Helmchen’s life, which winning the Clara Haskil Competition he always includes in his perform- in 2001. ance programme. For years now, he

has collaborated closely with Boris Gordan Nikoli´c Pergamenschikow till his decease in 2004; at present, he regularly gives con- ordan Nikoli´c was born in 1968 certs and recitals with Heinrich Schiff. Gand began playing violin at the Furthermore, he has partnered Gidon age of seven. In 1985, he entered the Kremer, , Isabelle Musikhochschule Basel to study with Faust, Daniel Hope, , violinist/conductor Jean-Jacques Tabea Zimmermann, Sharon Kam and Kantorow. Four years later, he gradu- Lars Vogt. ated with the highest honours, as The young pianist Martin Helmchen both teacher and soloist. He also has already been awarded two of the worked with Lutoslawsky and Kurtág most important prizes in the music and developed an interest in both scene: the Crédit Suisse Award and Baroque and contemporary music. He the ECHO Klassik. He received the is the recipient of several international Crédit Suisse Young Artist Award in awards, which include the Tibor Varga, September 2006. The prize included Niccolò Paganini, Cità di Brescia, and his début with the Vienna Philharmonic Vaclaw Huml prizes. under Valery Gergiev, performing In 1989, he was appointed Leader Schumann’s Piano Concerto during the of the Orchestre d’Auvergne, which Lucerne Festival. He was awarded the he conducted regularly from his lead- ECHO prize jointly with cellist Danjulo er’s chair: for instance, during a tour Ishizaka, as “Nachwuchskünstler des of Germany in 1993. In 1996, he was Jahres” (= up-and-coming artist of the appointed Leader of the Lausanne year). Chamber Orchestra, and later he Martin Helmchen has signed an also became Leader of the Chamber exclusive contract with the Pentatone Orchestra of Europe. In 1997, he Classics label. was invited to become Leader of the London Symphony Orchestra. In 2005, Gordan Nikoli´c was invited by the London Symphony Orchestra to be the soloist in three important projects: Schumann's Violin Concerto In 2000, he was appointed “Prince under Daniel Harding, Brahms's Violin Consort Professor” for string ensem- Concerto under Sir Colin Davis, and bles at the Royal College of Music. Beethoven's Triple Concerto, with Since September 2003, he has also pianist Emmanuel Ax and cellist Tim been a professor at the Guildhall Hugh, under Bernard Haitink at the School of Music. In the Netherlands, Barbican Centre in London. Nikoli´c also teaches at the Rotterdam He has conducted the Chamber Academy for . Orchestra of the London Symphony Gordan Nikoli´c has a special inter- Orchestra, the Orchestre National est in chamber music, and is regularly d’Île-de-, the Manchester invited to perform at various festivals. Camerata, and the Rotterdam These include the Musique à l’Empéri Philharmonic Orchestra, among oth- Festival, Edinburgh Festival, Daytona ers: during the 2005/2006 season, he Music Festival, Chaise-Dieu Festival conducted the Orchestre de Lille. and the London Proms, where he Since 2004, he has been has performed with such musicians Artistic Director of the Nederlands as Vladimir Mendelssohn, Pieter Kamerorkest (= Netherlands Wispelwey, Christophe Coin, Eric Chamber Orchestra), which is based Le Sage, Maria João Pires, Mikhaïl in Amsterdam. With this orches- Pletnev, Emmanuel Ax, Leif Ove tra, he has programmed various Andsnes and Tim Hugh. Recently, memorable productions, such as he has joined the Vellinger String Stravinsky’s L’histoire du soldat with Quartet. kinetic painter Norman Perryman, He has performed as a soloist with and Weill’s Die sieben Todsünden the Orchestre de la Suisse Romande, with theatre company Dogtroep. the Orchestre Symphonique de Nikoli´c has already recorded several Bâle, the Combattimento Consort CDs with the Netherlands Chamber Amsterdam, the Israel Chamber Orchestra, which include works by Orchestra and the London Symphony Britten, Bartók and Hartmann, among Orchestra. In 2001, he played the others. Walton Violin Concerto with the London Symphony Orchestra under concert that year during the Holland André Previn. In 2003, he performed Festival. Szymon Goldberg – the the Brahms Double Concerto with the legendary violinist, conductor and London Symphony Orchestra under pedagogue – was artistic director of Bernard Haitink, which was recorded the ensemble for the first 22 years. for the ‘LSO Live’ label, as well as Goldberg then appointed David Zinman Paganini's Violin Concerto No. 1 in as second conductor (alongside him- five concerts in Holland. He gave the self) and, jointly, they raised the level première of James MacMillan's Violin of the orchestra to equal that of any top Concerto, Deep But Dazzling Darkness, international chamber ensemble. They under the baton of the composer with were succeeded in 1979 by Antoni Ros the London Symphony Orchestra. Marbà, who led the orchestra until 1986. Gordan Nikoli´c has made many From 1986 to 2002, Hartmut Haenchen recordings for various labels (includ- was chief conductor of the ensemble, ing Olympia, Lyrinx and Syrius), with Philippe Entremont as permanent exploring the lesser-known violin guest conductor. repertoire. One of his recordings, Since 2003, Yakov Kreizberg has dedicated to Vivaldi, was nominated been chief conductor of the Nederlands "Recording of the Month" in Holland, Kamerorkest. In September 2004, top and his Bach recording received an violinist Gordan Nikoli´c was appointed award from DRS3, Switzerland's cul- Artistic Director and Leader of the tural radio channel. Nederlands Kamerorkest. As such, Gordan Nikoli´c plays a Lorenzo he regularly leads the orchestra from Storioni violin dating from 1794. within. The Nederlands Kamerorkest gives about 25 concerts per year Nederlands Kamerorkest in the major Dutch concert halls, including the Concertgebouw. Each he Nederlands Kamerorkest (= season, the orchestra also accom- TNetherlands Chamber Orchestra) panies a number of productions was founded in 1955 and gave its first of the Nederlandse Opera at the Muziektheater in Amsterdam. Apart as Darius Milhaud, Rudolf Barshai, from the many Rossini and Mozart , Erich Leinsdorf, operas, the orchestra has performed Yehudi Menuhin, Hans Vonk and Edo numerous contemporary operas to de Waart. The numerous world-famous great critical acclaim. For instance, soloists who have performed with the world-première of Alexander the orchestra include Elly Ameling, Knaifel’s Alice in September 2001; and Maurice André, Martha Argerich, the production of Tea by the Chinese/ Vladimir Ashkenazy, Alfred Brendel, American composer Tan Dun in Gidon Kremer, Radu Lupu, Anne- January 2003 was also a major success. Sophie Mutter, Isabelle van Keulen, In March 2005, the orchestra accom- Jean-Pierre Rampal, Marie-Claire Alain, panied Bellini’s opera Norma, and Han de Vries and Mstislav Rostropovich. performances of Rossini’s Il barbiere During a successful three-year project, de Siviglia are scheduled for January Christian Zacharias performed Mozart’s 2006. In autumn 2006, the orchestra complete piano concertos from behind will accopany the Nederlandse Opera the piano. in the Mozart-Da Ponte trilogy at the The Nederlands Kamerorkest has Amsterdam Muziektheater. an extensive repertoire available on The Nederlands Kamerorkest has CD. Some recordings dating from the toured extensively to countries such LP era – which include a Mozart Piano as the United States, Middle and South Concerto featuring Martha Argerich, America, Canada, Australia, Japan, and Szymon Goldberg’s Bach pro- China and almost all European coun- grammes – have since been re-released tries. It has performed at many festivals, on CD for their historic value, and new including the Wiener Festwochen, CD recordings on the PentaTone label Prager Frühling, Edinburgh Festival, are scheduled. (Please surf to www. Granada Festival and La Folle Journée orkest.nl to view the orchestra’s com- (Nantes 2002). prehensive discography.) Since its foundation, the During the 2005-2006 season, the Nederlands Kamerorkest has worked Nederlands Kamerorkest celebrated with prominent guest conductors such its 50th anniversary with an anni- versary concert at the Amsterdam den Neuaufnahmen auch in 100 Concertgebouw, among others. Jahren noch spannend sein und ihre Berechtigung haben. In diesem Zusammenhang möchte ich meine Mozarts Klavierkonzerte besondere Dankbarkeit PentaTone KV491 und KV415 gegenüber ausdrücken, dass ich von Anfang an die wirklich außergewöhn- ls ich Job Maarse im Februar 2006 liche Freiheit genieße, das Repertoire Afragte, was er sich für unsere erste aufzunehmen, das mir künstlerisch CD vorstellte, sagte er „Warum nicht momentan am meisten bedeutet. zwei Mozart-Konzerte?“. Ich war spontan Warum habe ich mich nun bei begeistert, da ich mich gerade in einer der Auswahl aus dem wunderba- „Mozart-Phase“ befand und befinde, ren Universum der Mozart-Konzerte aber mein zweiter Gedanke war: sollte gerade für diese beiden entschieden? man für die Solodebut-CD nicht nach Jeden Pianisten begleiten Mozarts etwas Außergewöhnlichem suchen, Klavierkonzerte von klein auf, und das nach Repertoire, das aufhorchen lässt? C-Dur-Konzert KV415 war das erste Mozart, und das ausgerechnet nach Stück, das ich als Kind mit Orchester dem wahrlich intensiv begangenen spielen durfte. Nie werde ich das Mozart-Jahr? Diese Gedanken mögen Glücksgefühl vergessen, als sich auf sich für einen Moment aufdrängen, einmal das eigene Spiel mit dem verflüchtigen sich jedoch schnell, Orchester zu etwas so Wunderbarem wenn man sich an das immer wieder verband. Die besondere Liebe zum erfahrbare Wunder erinnert, dass sich gemeinsamen, einander ergänzenden Mozarts Musik niemals abnutzt, son- Musikmachen prägt mich bis heute. dern einem auch und gerade nach Das c-Moll-Konzert KV491 wie- einem Jahr Höchstdosis immer und derum war das erste der „großen“ immer mehr ans Herz wächst. Es ist Konzerte, das mich in seiner Tragik „ewige Musik“, und nicht nur aufgrund und düsteren Expressivität schon früh des Wandels der Interpretations- und nicht mehr losließ. Die beiden Werke Rezeptionsgewohnheiten wer- bilden einen immensen Kontrast, der auch gerade beim Vergleich der c-Moll- der man mit Fassungslosigkeit steht Episode im dritten Satz von 415 mit und die uns sonst wohl bei keinem der Grundstimmung von 491 deutlich Komponisten so begegnet. wird. Die gleiche Tonart, und doch zwei Die Kadenz zum ersten Satz von Welten – hier eine Schönheit, die bei 491, die ich hier spiele, stammt von aller Traurigkeit Glück vermittelt, eine meinem guten Freund Lars Vogt. Ich naive Klage, die an Barbarinas „L’ho hörte sie einmal von ihm gespielt im perduta… me meschina!“ aus dem Konzert und hatte sofort den Eindruck, Figaro erinnert; dort Verzweiflung, dass hier meine Vorstellung von einer Düsternis und Zerrissenheit, die tiefe Kadenz zu diesem Stück treffender Erschütterung hinterlässt. verwirklicht ist als in allen eigenen Beim Studium des c-Moll-Konzerts Versuchen. Danken möchte ich auch gab es einen Moment, in dem ich das Gordan Nikoli´c und dem Netherlands Gefühl hatte, mehr über Mozart zu Chamber Orchestra für das beglü- lernen als durch viele Bücher. Mein ckende Erlebnis der Aufnahmetage, verehrter Lehrer Arie Vardi gab mir das durch Spontaneität, Freude am eine Kopie des Manuskripts zur Ansicht Musizieren und Liebe zu Mozart und lenkte meine Aufmerksamkeit auf geprägt war. seltsame Karikaturen von Gesichtern, die Mozart im ersten Satz zwischen die Noten gezeichnet hatte. Bei genauerer Concertos pour piano K.491 Betrachtung bemerkt man, dass ihm et K.415 de Mozart wohl einmal ein Wiederholungszeichen missglückt war, so dass es wie ein orsque je demandai à Job Maarse, schiefes Gesicht aussah. Daraus Len février dernier, ce qu’il avait machte er ein Spiel, indem er auch an à l’esprit pour notre premier CD, il parallelen Stellen diese verschrobenen me répondit : « Pourquoi pas deux Köpfe zeichnete. In der düstersten und concertos de Mozart ? ». L’idée m’en- ergreifendsten Musik, die man sich nur thousiasma tout de suite, car j’étais vorstellen kann also Grimassen und justement – et suis toujours – dans Alberei. Eine Eigenschaft Mozarts, vor une phase « Mozart ». Ma deuxième pensée fut toutefois : ne vaudrait-il pas pour ces deux concertos, considérant mieux choisir quelque chose de moins le choix offert par tout le merveilleux courant pour un premier CD solo ? Par univers des concertos de Mozart ? Les exemple, un répertoire qui fait se dres- concertos pour pianos de Mozart font ser les gens sur leur chaise et écouter partie de la vie de tout pianiste, dès vraiment ? Encore du Mozart, juste son plus jeune âge, et le Concerto pour après l’année Mozart déjà si abondam- Piano en Ut, K.415, fut le premier mor- ment célébrée ? Bien que ces pensées ceau qu’enfant, je fus autorisé à jouer vous viennent sans que vous vous en avec un orchestre. Je n’oublierai jamais rendiez compte, elles s’évanouissent le sentiment de délice qui se fit maître rapidement lorsque l’on considère le de moi lorsque le son de mon piano se miracle constant qu’est la musique de joignit à celui de l’orchestre pour for- Mozart. Jamais assommantes même mer une miraculeuse entité. Jusqu’à ce après avoir été diffusées tous les jours jour, je voue un amour tout particulier à dose maximale tout au long de l’an- au plaisir de jouer de la musique avec née passée, ses compositions occupent d’autres, tous les instruments venant une place de plus en plus grande dans se compléter mutuellement. Encore nos cœurs. Il s’agit-là véritablement une fois, le Concerto pour piano en de « musique éternelle », et tous les Ut mineur, K.491 fut le premier des enregistrements réalisés pendant un concertos « majeurs » à m’émouvoir, siècle entier demeureront excitants et alors que j’étais enfant, de par sa justifiés, et pas uniquement parce que tragédie et sa sombre expressivité. leurs interprètes et leur public seront Les deux œuvres offrent un énorme différents. À cet égard, je désire tout contraste, qui saute aux yeux dès que spécialement adresser mes plus vifs l’on compare l’épisode en Ut mineur remerciements à PentaTone pour du troisième mouvement du K.415 m’avoir accordé, dès le début, l’infinie avec l’humeur basique du K.491. La liberté d’enregistrer le répertoire qui même clé, mais deux mondes diffé- me tenait le plus à cœur, artistique- rents. Le premier n’est que beauté, ment parlant, à ce moment-là. communiquant le bonheur malgré Pourquoi ai-je opté précisément toute la peine, une lamentation naïve, qui rappelle l’un des « L’ho perduta… autre compositeur. me meschina ! » de Barbarina dans La cadenza du premier mouve- Figaro. Le deuxième, gorgé de déses- ment du K.491, que je joue sur cet poir, de pressentiments sombres et enregistrement, a été écrite par mon de tension, laisse derrière lui un senti- grand ami Lars Vogt. L’ayant une fois ment de profonde tristesse. entendu la jouer en concert, j’ai tout Lorsque je travaillai au Concerto de suite senti qu’elle exprimait, plus en Ut mineur, j’eus à un moment justement que mes propres tentatives, donné le sentiment d’en avoir appris l’idée que je me faisais d’une cadenza davantage sur Mozart que si j’avais lu pour ce concerto. Je désire également toute une pile d’ouvrages. Mon révéré remercier Gordan Nikoli´c et l’Orches- professeur, Arie Vardi, me donna une tre de Chambre des Pays-Bas de la copie du manuscrit mon étude, et délicieuse expérience que furent les attira mon attention sur d’étranges sessions d’enregistrement, qui se caricatures de visages, que Mozart caractérisèrent par leur spontanéité, avait dessiné dans le premier mouve- le plaisir de jouer de la musique, et un ment, entre les notes. En les observant amour partagé de Mozart. de plus près, on constate qu’il a essayé de reproduire un signe particulier et Texte : Martin Helmchen qu’il a probablement échoué, le faisant Traduction française : Brigitte Zwerver- ressembler à un visage distordu. Il en Berret fit donc un jeu et dessina également ces drôles de têtes dans des endroits similaires. En d’autres termes, dans la musique la plus sombre et la plus émouvante que l’on puisse imaginer, il avait également inclus des grimaces et des farces. C’est l’une des caracté- ristique de Mozart, qui nous laisse totalement perplexes, et qui ne se retrouve de la même façon chez aucun Polyhymnia specialises in high-end recordings of acoustic music on location in concert halls, churches, and auditoriums around the world. It is one of the worldwide leaders in producing high- resolution surround sound recordings for SA-CD and DVD-Audio. Polyhymnia’s engineers have years of experience recording the world’s top classical artists, and are experts in working with these artist to achieve an audiophile sound and a perfect musical balance. Most of Polyhymnia’s recording equipment is built or substantially modified in-house. Particular emphasis is placed on the quality of the analogue signal path. For this reason, most of the electronics in the recording chain are designed and built in-house, including the microphone preamplifiers and the internal electronics of the microphones. Polyhymnia International was founded in 1998 as a management buy-out by key personnel of the former Philips Classics Recording Center. For more info: www.polyhymnia.nl

Polyhymnia ist eine Aufnahmefirma, die sich spezialisiert hat in der Einspielung hochwertiger musikalischer Darbietungen, realisiert vor Ort in Konzertsälen, Kirchen und Auditorien in aller Welt. Sie gehört zu den international führenden Herstellern von High-resolution Surroundaufnahmen für SA-CD und DVD-Audio. Die Polyhymnia-Toningenieure verfügen über eine jahrelange Erfahrung in der Zusammenarbeit mit weltberühmten Klassik-Künstlern und über ein technisches Können, das einen audiophilen Sound und eine perfekte musikalische Balance gewährleistet. Die meisten von Polyhmynia verwendeten Aufnahmegeräte wurden im Eigenbau hergestellt bzw. substanziell modifiziert. Besondere Aufmerksamkeit gilt dabei der Qualität des Analogsignals. Aus diesem Grunde wird der Großteil der in der Aufnahmekette verwendeten Elektronik in eigener Regie entworfen und hergestellt, einschließlich der Mikrophon-Vorverstärker und der internen Elektronik der Mikrophone. Polyhymnia International wurde 1998 als Management-Buyout von leitenden Mitgliedern des ehemaligen Philips Classics Recording Centers gegründet. Mehr Infos unter: www.polyhymnia.nl

Polyhymnia est spécialisé dans l'enregistrement haut de gamme de musique acoustique dans des salles de concerts, églises et auditoriums du monde entier. Il est l'un des leaders mondiaux dans la production d'enregistrements surround haute résolution pour SA-CD et DVD-Audio. Les ingénieurs de Polyhymnia possèdent des années d'expérience dans l'enregistrement des plus grands artistes classiques internationaux. Travailler avec ces artistes pour obtenir un son audiophile et un équilibre musical parfaits fait partie de leurs nombreuses expertises. La plupart du matériel d'enregistrement de Polyhymnia est construit ou considérablement modifié dans nos locaux. Nous mettons notamment l'accent sur la qualité du parcours du signal analogique. C'est la raison pour laquelle nous élaborons et construisons nous-mêmes la plupart du matériel électronique de la chaîne d'enregistrement, y compris préamplificateurs et électronique interne des microphones. Polyhymnia International a été fondé en 1998 suite au rachat de l'ancien Philips Classics Recording Center par ses cadres. Pour de plus amples informations : www.polyhymnia.nl

Technical Information

Recording facility: Polyhymnia International BV Microphones: Neumann KM 130, Schoeps MK 2 &DPA 4011 with Polyhymnia microphone buffer electronics. Microphone pre-amps: Custom build by Polyhymnia International BV and outputs directly connected to Meitner DSD AD converter. DSD recording, editing and mixing: Pyramix Virtual Studio by Merging Technologies Surround version: 5.0

Monitored on B&W Nautilus loudspeakers.

Microphone, interconnect and loudspeaker cables by van den Hul. HYBRID MUL

TICHANNEL

PTC 5186 305