RES10172 J W ulian P Emma Ab olfg Piano Duets ang Amadeus V Mo erkins & olume 1 zar bate t (1756-1791)

Wolfgang Amadeus Mozart (1756-1791) Piano Duets, Volume 1 in D major, K381 1. Allegro [9:21] 2. Andante [6:37] 3. Allegro molto [7:57]

Emma Abbate & Julian Perkins piano duet Sonata in C major, K521 4. Allegro [5:42] 5. Andante [8:00] by W.A. Mozart: 6. Allegretto * [4:35] Grand piano by Johann Peter Fritz, Vienna, c. 1815. Compass: FF to f4. Johann Christian (1735-1782) Sonata by J.C. Bach: Sonata in A major Single-strung square piano by Anton Walter & Son, Vienna, c. 1805. 7. Allegretto [7:34] Compass: C to f3. 8. di menuetto [3:15]

Wolfgang Amadeus Mozart Sonata in B-flat major, K358 9. Allegro [4:09] 10. Adagio [6:31] 11. Molto presto [4:15] About Emma Abbate: Total playing time [68:04] ‘[...] complete assurance and clear dedication’ International Record Review

* Cadenza by Julian Perkins after ’s ‘Cadenza alla Mozart’ About Julian Perkins: in Musical Characteristics, Op. 19 (1787, revised 1807).

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Photography: Rudi Wells asked his father to send copies so that he is dedicated not to Franziska von Jacquin but could play them with some of the more instead ‘aux demoiselles Nanette et Babette promising students he was teaching. Five de Natorp’. They were the musical daughters years later, they were also among the first of a merchant, Franz Wilhelm Natorp, and of Mozart’s works to be published by the Babette was another of Mozart’s pupils. Viennese firm of Artaria: in 1783 they were The opening ‘Allegro’, a substantial sonata issued as Deux sonates à quatre mains sur form movement, begins with a theme in un clavecin ou pianoforte par W.A. Mozart. octaves that quickly gives way to brilliant Oeuvre 3me. scale passages in both parts. As Einstein put it, ‘Nanette and Babette are treated The Sonata in C major K521 was finished on quite impartially […] the two parts are 29 May 1787, written in the year that saw friendly rivals.’ The central Andante is a the completion of the C major and G minor song-like movement in F major, and the string quintets (K515 and K516), Eine intricate dialogue between primo and kleine Nachtmusik K525 and Don Giovanni secondo continues here. The finale is a K527. Coincidentally, the autograph delightful , marked ‘Allegretto’ and manuscript of this work also found its way, full of wit and charm. eventually, into a British collection: it is now in the Fitzwilliam Museum, Cambridge. When Mozart went to London in 1765, he Mozart intended this sonata for one of met Johann Christian Bach (1735-1782) and his pupils, Franziska von Jacquin. She was subsequently became a warm admirer of clearly a talented pianist: a year earlier she his , freely admitting the influence it had played the piano in the first performance had on him. J.C. Bach’s Sonata in A major of the ‘Kegelstatt’ Trio (K498) with Anton for piano four hands, was first published in Stadler playing the clarinet and Mozart 1778 by the London firm of Welcker with himself on the . Mozart meant this the title ‘Duetto’, as one of Four Sonatas piece to be quite demanding, and sent it and Two Duetts for the Harpsichord or to Gottfried von Jacquin on the day it was Piano Forte … Opera 18. It is in two completed with a covering letter: ‘give movements, the first of which is an this sonata to your sister with my ‘Allegretto’ dominated by the theme which compliments and tell her to start working is introduced by the primo player before on it at once as it is rather difficult.’ The being repeated by the secondo. The second first edition, published in 1788 by Hoffmeister, movement is a short, undemanding

‘Minuet’. Throughout this brief work, there’s A Personal Tribute a very attractive dialogue between the two players. I first came to Finchcocks aged twelve and, like innumerable visitors, was enthralled by © 2016 Nigel Simeone the veritable menagerie of instruments on which one could actually play at this living Finchcocks museum. Never a fusty institution, Finchcocks always encouraged active participation, and From 1971 to 2015, the Finchcocks Musical I clearly remember once indulging in far too Museum near Goudhurst in Kent was home much hearty food in their Cellar Restaurant to a collection of over 100 keyboard before playing the recorder in the annual instruments plus related artefacts. The ‘Young Performers Recital’! A regular guest instruments ranged from harpsichords, at Open Days, I will always be grateful to virginals and clavichords to cottage pianos, Finchcocks for nurturing my passion for early grand pianos and barrel organs. Set original keyboard instruments. I wrote an in an Arcadian oasis, Finchcocks put on article about Finchcocks and the indefatigable thousands of varied events and was a Burnetts for the magazine Early Music Today global mecca for both the curious uninitiated in 2006, and introduced Emma Abbate to the and the touring virtuoso. The Finchcocks wayward delights of early keyboards when Charity for Musical Education, founded in we performed at Finchcocks on a Clementi 1984, retains a core collection of fourteen square piano in 2007 – our first concert instruments from the Richard Burnett together. Heritage Collection of Early Keyboard Instruments (of which both pianos on this This recording was the last to be made at recording are part). The charity will continue Finchcocks, but I speak for a host of musicians to sponsor research projects and to work and music lovers in expressing relief that the with students, with a particular – and much- sale of this Georgian ‘mini-mansion’ is not needed – focus on training a new generation by any means the end of the story, but of early keyboard instrument restorers, rather the end of a remarkable chapter. tuners and technicians. Emma Abbate Finchcocks House & Musical Museum (photography: Paul Carter) and Julian Perkins are honoured to be © 2016 Julian Perkins playing a part in the charity’s future. Emma & Julian extend their heartfelt thanks to Katrina and Richard Burnett and the Finchcocks Charity for Musical Education for generously allowing them to record in the Great Hall at Finchcocks. Emma Abbate (piano – secondo) premiere recordings of works by Krzysztof Meyer, Algernon Ashton and Stephen Described as ‘an amazingly talented pianist’ Dodgson with the cellist Evva Mizerska, and by the leading Italian magazine Musica, the world premiere recording of Stephen Emma Abbate enjoys a demanding career as Dodgson’s piano quintets with the a piano accompanist and chamber musician, Tippett Quartet. working with some of the finest singers and instrumentalists of her generation. She has Based in London, Emma is a professor at performed in duo recitals for international the Guildhall School of Music & Drama. festivals and concert societies in Salzburg, Following her graduation from the S. Lisbon, Naples, Ischia, Koscierzyna and Pietro a Majella Conservatoire in Naples Sorrento, and at many prestigious UK and an Advanced Diploma from the S. venues such as the Wigmore Hall, Cecilia Conservatoire in Rome, Emma Southbank Centre, Royal Opera House, studied in London with Yonty Solomon. St John’s Smith Square, St George’s, Bristol She completed her studies with Geoffrey and Aldeburgh Festival, in addition to Pratley as a scholar at the Royal Academy broadcasts on BBC Radio 3. She is also of Music, from where she graduated with an advocate for historical pianos, and has distinction. She was also awarded an given recitals at prestigious collections Italian Literature and Culture degree including Finchcocks and Hatchlands. cum laude from the Federico II University in Naples. Emma is releasing a series of recordings devoted to twentieth-century Italian vocal www.emmaabbate.com , the latest of which is the world premiere disc of Shakespeare Sonnets by Mario Castelnuovo-Tedesco with the baritone Ashley Riches for Resonus Classics. The disc has been highly praised both by International Record Review and on BBC Radio 3’s CD Review. Other recordings include L’Infinito, a musical journey through twentieth-century Italian songs with the mezzo-soprano Kamelia Kader, world Julian Perkins (piano – primo) Welsh National Opera, Julian has performed with groups including the Described as ‘exuberantly stylish’ by The of the , Sunday Times, Julian Perkins enjoys a Orchestra of the Sixteen and New London varied career as a keyboard player and Soloists. As a conductor, Julian has performed conductor, is artistic director of Cambridge staged opera productions for organisations Handel Opera and founder-director of such as the Buxton Festival, Dutch National Sounds Baroque. Opera Academy, Grimeborn Festival, Guildhall School of Music & Drama, Kings Place, New Julian’s discography has seen acclaimed Chamber Opera and New Kent Opera, and solo and chamber recordings for Avie, concert performances with, among others, Coro, Chandos, Opus Arte and Resonus the Bampton Classical Players, Barts Chamber Classics on a wide range of instruments, Choir, Bury Court Opera, New London Singers, including the Royal harpsichord by Burkat Rodolfus Choir, Southbank Sinfonia and Shudi at Kew Palace. These have included Spiritato. world premiere recordings playing harpsichord suites by James Nares and Julian read music at King’s College, Cambridge, John Christopher Smith, Stephen Dodgson’s and completed his formal studies at the Schola clavichord suites, and directing Daniel Cantorum, Basle and the Royal Academy of Purcell’s opera-oratorio The Judgment Music, London. Singing is central to Julian’s of Paris. Solo recitals have included approach to music; the prestigious Baylis appearances for international festivals at programme at English National Opera and St Albans, Buxton, Canterbury, Colchester, tours with the Monteverdi Choir were Oundle, Ryedale and Two Moors in repertoire formative experiences. His diverse mentors including J.S. Bach’s 48 Preludes and Fugues. have included Noelle Barker OBE, David Parry Julian has also appeared with many leading and CBE. He is a Fellow of the soloists and ensembles at venues such as Royal College of Organists, and has been the Wigmore Hall, London, Lincoln Center, elected an Associate of the Royal Academy New York, and Sydney Opera House, as of Music in recognition of his contribution well as at the BBC Proms and Edinburgh thus far to the music profession. International Festival. In addition to participating in productions at The www.julianperkins.com Royal Opera House, Covent Garden and More titles from Resonus Classics

J.S. Bach: French Suites, BWV 812-817 Julian Perkins (clavichord) RES10163

‘The ability to play loud and soft, albeit within a very narrow and low-level range – is effectively exploited by Perkins; melodies sing over their accompaniments and the soft-curved sarabandes [...] are shaped with beauty and feeling.’ Gramophone

Mario Castelnuovo-Tedesco: Shakespeare Sonnets Ashley Riches (baritone) & Emma Abbate (piano) RES10141

‘Baritone Ashley Riches is an ideal interpreter of this music, with a richness of timbre and a clarity of enunciation that is absolutely essential. He is sensitively accompanied by Emma Abbate.’ International Record Review

© 2016 Resonus Limited è 2016 Resonus Limited Recorded in Finchcocks House, Kent on 29-30 November 2015 Producer, Engineer & Editor: Adam Binks Pianos prepared, maintained & tuned by Edmund Pickering Recorded at 24-bit / 96kHz resolution (DDD) Photography © Resonus Limited

RESONUS LIMITED – UK

[email protected] www.resonusclassics.com RES10172