THE ROMANTIC HORN billboard for a concert the following day to THE ROMANTIC HORN NOTES BY RICHARD WATKINS include a new sonata 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 Ludwig van Beethoven (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 Richard Strauss (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 Alexander Scriabin (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 Francis Poulenc (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 sonatas in that it could easily It is perhaps no surprise that Richard Strauss’s RICHARD WATKINS HORN be described as a piano sonata 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 - concertos, Strauss’s tone poems and operas 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 Dennis Brain. 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 Philharmonia Orchestra 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 Nash Ensemble 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 Barry Douglas, 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 Andrew Davis and Mark Elder.