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HUMMEL Oberon's Magic Horn

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HUMMEL Oberon's Magic Horn 557845bk Hummel US 19/9/07 11:43 am Page 5 Gävle Symphony Orchestra The orchestral parts and scores of the following works are available from: The Gävle Symphony Orchestra is one of the oldest in Sweden, dating back to 1912. The first artistic director of this HUMMEL 25-man orchestra was the composer Ruben Liljefors. It has grown to 52 full-time members during the past ninety www.artaria.com or so years. The orchestra is based in the provincial capital of Gävle, but tours regularly both in its home province and elsewhere in Sweden. The Gävle Symphony Orchestra has also toured in The Netherlands, Finland, Norway and Sources Oberon’s Magic Horn the former Yugoslavia. There was a unique collaboration with the symphony orchestra in Dubrovnik during the The sources upon which the editions used in this recording have been made are: 1990s when the two orchestras performed Benjamin Britten’s War Requiem in support of the suffering people in (Fantasy) war-torn Croatia. Since its inception, the Gävle Symphony Orchestra has had a succession of distinguished conductors as Artistic Directors including Stig Westerberg, Rainer Miedel, Göran W Nilson, Hannu Koivula, Carlos Le retour de Londres. Grand Rondeau brillant, Oberons Zauberhorn, Op. 116 Grand Rondeau brillant • Variations and Finale Spierer and Petri Sakari. The orchestra’s current Artistic Director and Principal Conductor is Robin Ticciati, who Op. 127 Edited by Allan Badley - Artaria Editions AE422 took up his appointment in January 2006. The Gävle Concert Hall was dedicated in January 1998, marking the Edited by Allan Badley - Artaria Editions AE448 London, The British Library (autograph); completion of a project first proposed in the 1930s. The custom-built hall has allowed the orchestra to record more London, The British Library Ms Mus 32,228 h.3281.j.(16.)(Haslinger Edition, 1831) Christopher Hinterhuber, Piano in-house CDs than were possible previously. In addition to the music of Franz Berwald, the orchestra has recorded (autograph); Wien, Gesellschaft der Musikfreunde works by composers such as Bo Linde, Wilhelm Stenhammar, Hugo Alfvén, Edvard Grieg, Dmitry Shostakovich, (Haslinger Edition, 1835) Variations and Finale in B flat, Op. 115 Gävle Symphony Orchestra • Uwe Grodd Carl Nielsen and Sven-David Sandström. Edited by Allan Badley - Artaria Editions AE424 Variations in F major, Op. 97 London, The British Library (autograph) Edited by Allan Badley - Artaria Editions AE423 Uwe Grodd London, The British Library (autograph) Uwe Grodd, German conductor and flautist, based in New Zealand, has performed and recorded internationally for over 25 years. He has won considerable success with his recordings and performances of works for piano and orchestra by Ferdinand Ries. A Naxos Recording Artist, he won First Prize, in 2000, for the ‘Best 18th Century Orchestral Recording’ at the Cannes Classical Awards with his CD of Symphonies by J.B. VaÀhal (Naxos 8.554341) with the Nicolaus Esterhazy Sinfonia from Hungary. This was immediately followed by a recording with the Capella Istropolitana from Slovakia with symphonies by Ignaz Pleyel (Naaxos 8.554696). In 2002 the CD was one of three finalists in the category ‘Best 18th and 19th Century Orchestral Recording’ at Cannes. His world première recording of the Missa Solemnis by J.N. Hummel (Naxos 8.557193), with the New Zealand Symphony Orchestra and Tower Voices New Zealand, was voted ‘Editor’s Choice’ by The Gramophone magazine in May 2004. Other recordings include symphonies by Cannabich and Dittersdorf, two Masses by VaÀhal and, as a flautist, flute sonatas by Kuhlau and the VaÀhal Flute Quartets (Naxos 8.570234). In 1993 Uwe Grodd was appointed Musical Director of the Manukau City Symphony Orchestra and from 1998 until 2002 he was Artistic Director of the International Music Festival New Zealand. An avid supporter of contemporary music of all genres, he has given many first performances including the première season of the multi-media opera Galileo, with music by John Rimmer and libretto by Witi Ihimaera. Uwe Grodd is Associate Professor in Conducting and Flute at the University of Auckland. As a graduate of Mainz University, Germany, he studied with teachers of international repute, including André Jaunet, Manfred Schreier, Robert Aitken and Sergiu Celibidache. www.uwe-grodd.com 8.557845 5 6 8.557845 557845bk Hummel US 19/9/07 11:43 am Page 2 Johann Nepomuk Hummel (1778–1837): Works for Piano and Orchestra Beethoven’s Septet in E flat, his Quintet in E flat minor, primary concern was to achieve a satisfactory musical its own destruction”. Although the Grand Rondeau follows reveals Hummel’s great mastery of the form. Oberon’s Magic Horn • Grand Rondeau brillant • Variations and Finale a new Septet of his own composition for pianoforte, structure for his own composition rather than present a brillant was published in Vienna in 1835 by Haslinger The theme is quirky and full of musical invention; the flute, clarinet, violin, violoncello and trumpet, his new paraphrase of Weber’s work. The newly-composed with the title ‘Le retour de Londres’, it is fascinating to episodic material, at turns simple and expressive or Unlike Beethoven, whose deafness drove him from the interpolated cadenza prior to the final variation. The Fantasie “Oberons Horn” accompanied by the full material is attractive, highly effective and characteristic note that in a letter to Ignaz Moscheles in London, dated brilliantly virtuosic. In this medium Hummel was concert platform relatively early in his career, Johann Variations and Finale in B flat, Op. 115, composed ten orchestra and a free fantasia. Of the orchestral works of Hummel’s mature style. Most impressive is his ability 25th March 1835, Hummel refers to the work as “le peerless and this late work shows that he had lost none Nepomuk Hummel remained one of Europe’s most years later, reveals another approach. The work is played, there was Hummel’s Overture in B flat, 6/8, to achieve a sense of continuous musical action through retour à Lourdes”. of his old fire. celebrated virtuosi until the early 1830s. There were introduced by a lovely 6/8 Larghetto which is unrelated (published) and his as yet unpublished Overture in D, the use of ingenious links between disparate thematic As is customary for Hummel, Le retour de Londres lengthy periods, however, when he did not perform in to the ensuing theme and variations. The theme itself, a 4/4, in which “God save the King” is interwoven in the elements. Thus, the work unfolds as a long, continuous opens with an extended slow introduction remarkable public and it was really his return to the concert platform perky little tune from the Berlin Local-Singspiel Das middle section”. [Issue No. 7, February 1830] single movement but it contains five distinctive phases: for both its beauty and expressiveness. The Rondeau that Allan Badley in 1814 that laid the foundations for his immense Fest der Handwerker, is a simple, symmetrical binary Weber’s opera Oberon was given in Weimar on at Allegro energico - Larghetto - Tempo di marcia – popularity during the next ten to fifteen years of his life. construction in 3/4 with repeats. Hummel’s variations least two occasions in the second half of 1829 and it is L’Orage (Storm) - Allegro con moto. The horn call His longevity as a performer owed as much to his vigour are far more fluid in their construction, eschewing the these performances that doubtless inspired Hummel to opens the work and is used extensively within the and resourcefulness as a composer as it did to his obvious binary structure of the theme in order to allow a compose a work based on the opera. It is interesting to orchestral accompaniment throughout the first phase of formidable technique as a pianist. Hummel’s more extensive exploration of its elaborations. Some note that neither the AMZ review nor the first edition of the work; it also serves as an introduction to the horn Christopher Hinterhuber receptiveness to new musical trends and his ability to variations are linked; others are separated by brief the work (published in Vienna in 1831 by Tobias theme in the finale (and it is at this point that Hummel’s develop and exploit them was fundamental to his orchestral interludes. As in the F major set there is a Haslinger) used Hummel’s original title: the AMZ refers decision to compose a new horn call rather than quote Christopher Hinterhuber was born in Austria and studied with Axel Papenberg, Rudolf Kehrer and Heinz success as an artist. The four works on this recording, lengthy variation in a slower tempo – in this instance to the work as Oberons Horn and Haslinger styles it Weber’s becomes self-evident, since the new call is Medjimorec at the University for Music and Performing Arts in Vienna, and Lazar Berman at the Accademia composed between 1820 and 1833, illustrate the vitality with a change of metre to 9/8 - but instead of returning Oberons Zauberhorn. Both titles more accurately reflect derived from the opening of the horn theme and thus Pianistica in Imola. His numerous prizes and awards in international competitions include top prizes at the J.S. Bach of Hummel’s musical imagination at the height of his to the original tempo and metre the Larghetto variation the relationship of the Fantasie to the opera. Unlike serves to unify the work most effectively) and makes a Competition in Leipzig, the J.S. Bach Competition in Saarbrücken, the Pretoria Unisa International Piano career. is followed by a bravura finale in 2/4 which is based Weber’s earlier operas which employ a number of final appearance in the last bars of the work. Competition in South Africa, the Schumann Prize in the Géza Anda Competition in Zurich and the Beethoven Hummel’s improvisatory powers were exceptional loosely on the theme.
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