THE ROMANTIC HORN billboard for a concert the following day to THE ROMANTIC HORN NOTES BY RICHARD WATKINS include a new for horn and piano. As he had no time, he quickly wrote out a horn This recording represents a selection of some part for Punto and improvised the piano part of the most well-loved works for the horn. As himself. At the performance the piece was our repertoire is relatively small, it seemed rapturously received, so much so that the Horn Sonata, Op. 17 (1770-1827) an ideal opportunity to select a programme audience demanded a repeat performance! 1 I. Allegro [9.06] of music from most European countries. The 2 II. Poco Adagio [1.34] Romantic Horn was a fairly obvious title, given Franz Strauss was a renowned horn player 3 III. Rondo [5.31] that all the works highlight the lyrical side in the Bavarian Court Orchestra under the of the horn - which is, essentially, what the conductor Hans von Bülow. By all accounts, instrument does best. I have always had a soft Franz Strauss was quite a character with von 4 Nocturno, Op. 7 Franz Strauss (1822-1905) [5.54] spot for Hunter’s Moon – Gilbert Vinter being Bülow describing him as the ‘Joachim of the 5 Andante, Op. Posth (1864-1949) [4.41] a leading figure in the light music movement, Horn’ and also commented ‘the fellow is 6 Robert Schumann (1810-1856) [9.26] Adagio and Allegro, Op. 70 at its height in the 40s and 50s, but sadly now intolerable but when he blows his horn, you 7 Rêverie, Op. 24 Alexander Glazunov (1865-1936) [3.43] out of fashion. Finally, this project was the can’t be angry with him’. Wagner agreed 8 Romance (1871-1915) [2.07] perfect opportunity to celebrate my collaboration with von Bülow: ‘Strauss is an unbearable 9 Villanelle Paul Dukas (1865-1935) [6.48] over many years with Julius Drake, my friend and curmudgeonly fellow but when he plays the 0 Élégie (1899-1963) [9.36] colleague with whom it has been the greatest horn, one can say nothing, for it is so beautiful.’ q Hunter’s Moon Gilbert Vinter (1909-1969) [6.36] privilege and honour to work. As Father to Richard Strauss, he was an equally capable composer in his own right. Total timings: [65.03] Beethoven’s Sonata, Op. 17 was first performed This Nocturno, Op. 7 was published in 1904; on 18th April 1800 in Vienna, with the virtuoso it is a beautiful lyrical work which has become horn player Giovannni Punto and Beethoven a staple part of the horn repertoire. as the pianist. This piece is typical of Beethoven’s in that it could easily It is perhaps no surprise that Richard Strauss’s RICHARD WATKINS HORN be described as a with a horn writing for the horn represents some of the JULIUS DRAKE PIANO obligato. Allegedly Beethoven had first arrived most idiomatic and challenging music for the in Vienna and was rather bemused to see a instrument. Apart from his two celebrated www.signumrecords.com - 3 - , Strauss’s tone poems and Alexander Glazunov’s Rêverie, Op. 24, published Although not challenging technically, it is a and myself as we performed this piece as all heavily feature the horn. This short and in 1890, is a much-loved work amongst horn beautiful piece and unmistakably Scriabin. part of our Wigmore Hall début together. I beautiful Andante was written in 1888 to mark players. It is a short, dreamy piece exploiting the remember once playing the Élégie at a horn his parents’ silver wedding anniversary. lyrical side of the instrument. In fact Glazunov Brass players are indebted to French composers event in Sweden and introduced the piece studied the horn, in addition to the piano, who wrote much of their music as test pieces suggesting the music almost depicted the Schumann’s Adagio and Allegro, Op. 70 violin, cello, clarinet, trumpet and trombone! highlighting all aspects of the instrument’s life of . After my performance, I was composed in 1849, which the composer I recently heard an anecdote involving the techniques. This lovely piece, Villanelle by was followed by the great French player, described as ‘my most fruitful year’. He had great British horn player Anthony Halstead, Paul Dukas, is, in my opinion, one of the very Michel Garcin-Marrou, who said he enjoyed my been influenced and inspired by the virtuoso which I think encapsulates the piece perfectly; best of its kind. It was written in 1906 for the charming little story but explained he would horn player Joseph Lewry. The horn was when the LSO went on their great tour of Paris Conservatoire. At its core is the beautiful have to tell the truth behind the Élégie! After undergoing a radical transformation with Russia with André Previn, the horn sections opening melody to test the lyrical side of the Brain’s untimely death, Poulenc’s publisher the recent invention of the valve, making the of the LSO and Leningrad Philharmonic ended horn – this also has the option of being played was continually trying to persuade him to instrument fully chromatic. Although some up in the apartment of Vitaly Bujanovsky, using the natural harmonics. The rest of write a piece in Brain’s memory. As he composers, notably Brahms, were wary of the orchestra’s legendary Principal Horn. The the piece follows the usual pattern of more admitted, not knowing much of the instrument’s this new-fangled device, Schumann was English didn’t speak a word of Russian, nor nimble writing followed by a ‘stopped’ passage capability, Poulenc phoned Georges Barboteu, quick to exploit the advances the valved horn did the Russians speak any English. where Dukas instructs the player to transpose the Principal Horn of the Orchestre de Paris afforded him. As well as the Adagio and Bujanovsky picked up his horn and said one a semitone higher. This gives the sound a and invited him to his apartment to discuss Allegro, Schumann also wrote the Konzertstück word to Tony, also an accomplished unique and ethereal quality which Dukas writing the piece. However, they discovered for Four Horns and Orchestra and a pianist: ‘Glazunov’. No music of course but also used in his Sorcerer’s Apprentice. Villanelle they both had a penchant for fine Chablis deliciously rich Andante and Variation for the it was obvious what he had in mind. Tony then explores the muted sounds and ends so in the end they drank several bottles of unusual combination of horn, two cellos and played those great chords of D flat major virtuosically. We are very fortunate to have wine together and then Poulenc wrote the two pianos. The Adagio and Allegro is a and off they went! At the end the combined this piece in our repertoire as Dukas destroyed piece! It is an intensely moving work and hugely dramatic piece exploiting the range sections of both orchestras were in tears. much of his music and it is a great favourite to quote my teacher, Ifor James, ‘as long as and stamina of the player – there are only amongst horn players. the horn is played, Dennis Brain will always seven bars rest in the horn part. It is generally Scriabin is most well known for his exquisite be remembered.’ regarded as one of Schumann’s lovelier and lush piano writing, yet this Romance, Poulenc’s powerful Élégie was written in memory chamber music works, so much so that other probably written at a young age, is a simple of the great horn player Dennis Brain, who Gilbert Vinter wrote Hunter’s Moon for the versions exist for cello, violin and viola. yet charming chamber music work. It was was tragically killed in a car crash in 1957. It horn player, John Burden, when they were both not published during Scriabin’s lifetime. also holds particular significance for Julius posted to Torquay in 1942. It was first

- 4 - - 5 - performed with the local Torquay Municipal RICHARD WATKINS actively involved with the Britten-Pears School, Orchestra but an arrangement for horn and coaching and giving masterclasses. He has piano was made later the same year. It also Richard Watkins is one of the most sought- also recorded Britten’s Serenade with Allan became a ‘party’ piece for Dennis Brain after horn players of his generation. He was Clayton and Aldeburgh Strings and has towards the end of his life. Originally titled Principal Horn of the for directed the inaugural Britten-Pears Brass Week. Diana of the Chase, the piece certainly twelve years, and is currently a member of has many hunting connotations. Perhaps the the and a founder member of In recital, Richard Watkins regularly performs opening marking, ‘Allegro (with good humour)’ London Winds. with singers such as John Mark Ainsley, Ian sets up the tone for the rest of the piece. Bostridge and Mark Padmore, and with pianists There are loud ‘stopped’ notes and upward Richard Watkins has appeared at many of the , Julius Drake, Paul Lewis, Roger glissandi, perhaps suggesting hiccoughing world’s most prestigious venues in the UK, Vignoles and Ian Brown. and burping of our hero huntsman who then Europe and the USA, and has worked with Closely associated with promoting contemporary falls asleep represented by a lovely dreamy conductors such as Giulini, Sawallisch, Salonen, music for the horn, Richard Watkins has given theme first on the horn then on the piano. The Slatkin, Sinopoli, Rozhdestvensky, Petrenko, premières of concertos by Maxwell-Davies, catchy 6/8 theme returns before ending in a and Mark Elder. Osborne, Lindberg, Muldowney, Lefanu, Tansy blaze of glory. All this, of course, suggests a Davies, Colin and David Matthews. Recent connection between our hero horn payer and His extensive discography includes recordings premières have included ’ Horn rather too much alcohol. Vinter and John of the horn concertos by Mozart, Malcolm and Trio, horn quintets by James Burden always insisted this piece represented Arnold, Glière, Ethel Smyth and Colin Matthews, MacMillan, David Matthews and Mark-Anthony the full moon after the harvest moon, yet as well as Mozart’s Sinfonia Concertante Turnage and horn trios by Huw Watkins, the fact that there was a pub in Torquay and chamber music for Horn by Schumann, Alexander Goehr and Gerald Barry. called ‘Hunter’s Moon’ perhaps gives the Schubert and Poulenc. Recent releases include Richard Watkins has a long association with Aldeburgh Music, first performing Britten’s game away! This is a brilliant example of a Wigmore Live disc of Britten’s Canticles Richard Watkins holds the Dennis Brain Chair Serenade with Sir Peter Pears in 1983. Since light music and an exuberant way to end with Mark Padmore, Alexander Goehr’s Horn of Horn Playing at the this recital. then he has appeared regularly as soloist Trio for NMC, Edward Gregson’s Horn Concerto where he is also a Fellow. with the BBC Philharmonic for Chandos and recitalist, performing concertos by Colin and Sea-Eagle for NMC featuring works by Matthews and Oliver Knussen as well as British composers composed for Richard Watkins. performances of Britten’s works for solo horn, the Serenade and Canticles. He has been

- 6 - - 7 - JULIUS DRAKE Angelika Kirchschlager, won the BBC Music Magazine Award 2012 – and a series of four The pianist Julius Drake lives in London and Schubert recitals recorded live at Wigmore Hall enjoys an international reputation as one of with Ian Bostridge. the finest instrumentalists in his field, collaborating with many of the world’s leading Concerts in the 2018-19 season included artists, both in recital and on disc. He appears recitals in his series, ‘Julius Drake and Friends’ regularly at all the major music centres and at the historic Middle Temple Hall in London; festivals: the Aldeburgh, Edinburgh International, concerts in Cologne, Brussels and Schwarzenberg Munich, Schubertiade and Salzburg Music with Ian Bostridge; in Amsterdam, Madrid, Festivals; Carnegie Hall and Lincoln Centre, New London and Philadelphia with Sarah Connolly; York; The Royal Concertgebouw, Amsterdam, in Vienna, Zurich, and Leeds with Angelika Wigmore Hall and BBC Proms, London. Kirchschlager; in Vienna, Hamburg, and London with Gerald Finley; in Bilbao and Vilabertran Julius Drake’s many recordings include a with Christoph Pregardien; in Copenhagen with widely acclaimed series with Gerald Finley Alice Coote; and in New York with Matthew for Hyperion, from which the Barber Songs, Polenzani. Further engagements include a tour Schumann Heine Lieder and Britten Songs of the USA with Holger Falk, of South Korea and Proverbs won the 2007, 2009 and 2011 with Ian Bostridge, and a recording of Gramophone Awards; award-winning recordings Dvorak’s Stabat Mater with the Bavarian Radio with Ian Bostridge for EMI; several recitals for © Marco Borggreve Choir in Munich. the Wigmore Live label, with among others with Bejun Mehta for Harmonia Mundi; and Alice Coote, Joyce Didonato, Lorraine Hunt Schubert’s Poetisches Tagebuch with Christoph Lieberson, Christopher Maltman and Matthew Prégardien, which won the Jahrpreis der Deutschen Polenzani; recordings of Kodály and Schoeck Schallplattenkritik 2016. sonatas with the cellists Natalie Clein and Christian Poltera for the Hyperion and Bis Julius Drake is now embarked on a major project labels; of Tchaikovsky and Mahler with to record the complete songs of Franz Liszt for Christianne Stotijn for Onyx; English song Hyperion – the second disc in the series, with

- 8 - - 9 - Richard Watkins would like to thank Paxman Horns and the Horn section of Kensington Philharmonic Orchestra for their generous support of this recording.

Recorded in the Britten Studio, Snape Maltings, UK from 22nd to 24th March 2018. Producer & Editor – Tim Oldham Recording Engineer – Mike Hatch

Cover Image – © Rachel Gadsen Design and Artwork – Woven Design www.wovendesign.co.uk

P 2019 The copyright in this sound recording is owned by Signum Records Ltd © 2019 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

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Portrait of Richard Watkins by Rachel Gadsden

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Let the Bright Seraphim Mozart: Complete Horn Concertos Armonico Consort Roger Montgomery horn Elin Manahan Thomas soprano Orchestra of the Age of Englightenment Crispian Steele-Perkins trumpet Maraget Faultless director / violin Christopher Monks musical director SIGCD345 SIGCD289 “Montgomery slips into their varying moods through affecting “The tone is immediately set by Crispian Steele-Perkins’ trilling phrasing, resilient changes in tempo, accentuation and trumpet on Bach’s “Jauchzet Gott in alien Landen”, which also dynamics, partnered by the OAE at its best. Well worth owning.” features quite thrilling between him and soprano Gramophone Elin Manahan Thomas.” The Independent

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