DOCSLIB.ORG

A1 MOZART 14 Horn Concertos. 2 Horn

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A1 MOZART 14 Horn Concertos. 2 Horn A1 MOZART 14 Horn Concertos. 2 Horn Quintet • Pip Eastop (hn); 1Anthony Halstead, cond; 1The Hanover Band; 2Eroica Qrt • HYPERION 68097 (72:48) Does anyone know why British horn players have cornered the market in recordings of the Mozart concertos? I know of seven who have recorded the four concertos—Dennis Brain, Timothy Brown, Jeffrey Bryant, Alan Civil, Frank Lloyd, David Pyatt, and Barry Tuckwell, and that’s not counting those who have done the same using the so-called “natural” (valveless) horn—Anthony Halstead (twice), Roger Montgomery, and now Pip Eastop. There may well be a few more I have overlooked. The natural horn was a unique creature. Its pure, open tones were limited to those of the overtone series of the key in which it was pitched by the use of crooks (additional lengths of tubing), but unlike the trumpet (also valveless until the mid-19th century), the player could “stop” the open notes by partially or completely choking the air stream with his right hand, which rested in the bell of the instrument, thus making available a much greater number of notes. The price paid for this manipulation was a highly uneven tone quality, ranging from pure, beautiful open tones to buzzy, almost unmusical sounds, and a gray area in between. In the context of the time, one gasps in astonishment at the agility of the virtuoso for whom Mozart wrote these concertos (Joseph Leutgeb), but to modern ears, the effect is something of a freak show. The invention of valves in the early 19th century effectively ended the need to “stop” notes. century effectively ended the need to “stop” notes. That said, Pip Eastop’s performances are probably the best to date played on the natural horn. Anthony Halstead’s two accounts are the runners up. Here Halstead takes up the baton to lead his colleague in these performances. Eastop knocks off the concertos with all the flair, self-confidence, and sensitivity one expects from a soloist. But what sets Eastop in a class by himself is the sheer musicality of his playing. In this he surpasses most of the competition on the valve horn as well. There are moments of rhythmic insecurity, and there is no denying that some passages sound labored, but that is the nature of the natural horn, no matter how accomplished the player. Eastop is certain to seduce the listener with his gorgeous tone (at least on the open notes), and some of those cadenzas he dreamed up will knock your socks off. (One covers an amazing four octaves plus!) Eastop’s vivid playing is complemented by the tasteful, stylish contribution from The Hanover Band and from the Eroica Quartet, which joins Eastop for Mozart’s Horn Quintet. To the best of my knowledge, this is the only CD to include this essential work of the horn repertory with the four concertos. Robert Markow This article originally appeared in Issue 38:6 (July/Aug 2015) of Fanfare Magazine. FESCA Piano Trios: No. 2 in e, op. 12; No. 5 in b, op. 46 • Tr Paian • CPO 777 862-2 (65:54) It is tempting to peg short-lived Alexander Ernst Fesca (1820–1849) as yet another victim in the not insignificant number of early 19th-century composers who had the misfortune to live in the long shadow cast by Beethoven. But considering that Fesca’s life chronologically intersected the lives of Chopin, Mendelssohn, and Schumann, all three of whom managed to emerge from Beethoven’s shadow to chart their own independent destinies, the Beethoven defense doesn’t really explain Fesca’s consignment to virtual anonymity following his death from tuberculosis just shy of his 29th birthday. I would propose an alternate theory, one which is not often accorded much consideration, and that is the accident of geography. Fesca was born in Karlsruhe, graduated from Berlin’s Royal Academy of the Arts at the age of 14, and then returned home to Karlsruhe, hundreds of miles from Berlin, Vienna, Leipzig, Paris, and London. In other words, by dint of choice or necessity (who knows which?), Fesca settled in what was then a relatively small provincial German town that was hardly a hotbed of musical innovation, far from the major European capitals of music in the early decades of the 19th century. (He died, by the way, in Braunschweig, a town midway between Manheim and Stuttgart.) It’s hard to know how much of the new Romantic music Fesca was exposed to while studying, still a child, at the Academy in Berlin, or what opportunities he had to hear new works and rub elbows with the trend-setters of the day once he was back in Karlsruhe. But most major composers gravitated to the centers of musical commerce where they had those opportunities aplenty, as well as ready-made orchestras, chamber groups, opera companies, patrons, publishers, and audiences all eager for new works. I suppose it’s all the more astonishing, then, that a composer, presumably not having next- works. I suppose it’s all the more astonishing, then, that a composer, presumably not having next- door knowledge of what his contemporaries in distant cities were up to, should produce such contemporaneous-sounding masterful works as these two piano trios entirely on the strength of his own natural talent. In terms of content and style, Fesca’s trios are straight in line with Chopin’s G-Minor Piano Trio and with the piano trios of the 1830s and 1840s by Fesca’s German contemporaries such as Louis Spohr, Robert Volkmann, Robert and Clara Schumann, Fanny Mendelssohn-Hensel, and, of course, Felix Mendelssohn. If you know and love any or all of these trios, you will have a new love affair with these trios by Fesca. As you can see from the disc timing in the headnote, these are not slight or lightweight compositions. Each trio lasts for over 30 minutes, and each, in a minor key, is filled with lots of Romantic Sturm und Drang and memorable mellifluous melodies. It’s also interesting to note that Fesca’s trios display a touch of the operatic, more so than do the trios of the above-named composers. The violin and cello tend to engage in somewhat more virtuosic showmanship, like opera divas, than they do in Felix Mendelssohn’s trios, which can sometimes sound more like piano concertos with violin and cello accompaniments; and in Fesca’s trios, the cessation or slowing down of the running piano figuration for the lyrical string episodes almost imparts to those episodes the impression of set operatic arias. Truth be told, this is not my first encounter with Fesca. Some time ago I acquired two earlier CPO releases, one (999 889-2), containing the composer’s Symphony No. 1 and three overtures, and the other (999 617-2) containing two of the composer’s mixed woodwind, string, and piano septets. So I shouldn’t have been surprised at how substantive and arrestingly beautiful these two trios are; except that I was, probably because I hadn’t listened to those earlier recordings in quite a while, and I’d simply forgotten how impressive Fesca’s music is. According to imslp, Fesca wrote no fewer than six piano trios, but he also composed piano quartets, string quartets, at least three symphonies, lots of solo piano music and songs, and three operas, one of which, dating from 1847, is his five-act heroic-romantic opera Il Trovatore to a libretto by Frederick Schmetzer. So far, CPO has the lock on Fesca, having produced many more recordings of his works than show up at ArkivMusic. If you go to CPO’s web site, you will find recordings of all three of Fesca’s symphonies, a three-disc set of his string quartets with the Diogenes Quartet—a group I’ve had occasion to rave about in previous reviews—a disc of flute quartets with the Linos Ensemble, the above-mentioned septets, and now these two trios, of which there are four more. Having heard this latest release, I can say that I want them all, and there’s a very good chance this will be on my 2015 Want List. But then, do keep in mind that he who is writing this review is a total sucker for chamber works in this genre and of this time period, and not restricted to specimens from the German school. When it comes to the Paian Trio, or Trio Paian as it bills itself, only the name is new. The ensemble, originally formed in 2002, used to go by the name of the Arion Trio, but which Arion Trio I can’t tell you because the name appears to have been appropriated by more than one ensemble. As I’ve observed before, we really need an international registry such as we have for Internet domain names. The Trio Paian may have adopted its new name for the purpose of avoiding this very confusion. In any event, the three players that currently make up the ensemble—Ilian Garnetz, violin; Marin Smesnoi, cello; and Alexandra Neumann, piano—are really excellent. They play these two trios with gusto and all the Romantic passion the music calls for and deserves. For anyone open to welcoming unfamiliar acquaintances into their circle of friends and significant others, I would urge you to throw open your doors to these stunningly beautiful piano trios by Alexander Ernst Fesca. You won’t regret it. Jerry Dubins This article originally appeared in Issue 38:6 (July/Aug 2015) of Fanfare Magazine. Pip Eastop’s Comments from the Mozart Liner Notes Pip Eastop’s Comments from the Mozart Liner Notes It has been more than two centuries since Mozart composed the music performed on this recording and during that time the horn, an instrument he loved and knew well, has evolved substantially.
Load more

Recommended publications
  • The Artistic Merits of Incorporating Natural Horn Techniques Into Valve Horn Performance
    The Artistic Merits of Incorporating Natural Horn Techniques into Valve Horn Performance A Portfolio of Recorded Performances and Exegesis Adam Greaves Submitted in fulfilment of the requirements for the degree of Master of Music Elder Conservatorium of Music Faculty of Humanities and Social Sciences University of Adelaide March 2012 i Table of Contents Abstract i Declaration ii Acknowledgements iii List of Figures iv Recital Programmes 1 Exegesis Introduction 2 Recital One 4 Recital two 11 Conclusion 25 Appendix: Concert Programmes Recital One 26 Recital Two 30 Bibliography 34 Recordings Recital One Recital Two ii Abstract The dissertation addresses the significance of how a command of the natural horn can aid performance on its modern, valve counterpart. Building on research already conducted on the topic, the practice-led project assesses the artistic merits of utilising natural horn techniques in performances on the valve horn. The exegesis analyses aesthetic decisions made in the recitals – here disposed as two CD recordings – and assesses the necessity or otherwise of valve horn players developing a command of the natural horn. The first recital comprises a comparison of performances by the candidate of Brahms’ Horn Trio, Op.40 (1865) on the natural and valve horns. The exegesis evaluates the two performances from an aesthetic and technical standpoint. The second recital, while predominantly performed on the valve horn, contains compositions that have been written with elements of natural horn technique taken into consideration. It also contains two pieces commissioned for this project, one by a student composer and the other by a professional horn player. These two commissions are offered as case studies in the incorporation of natural horn techniques into compositional praxis.
    [Show full text]
  • Interpretation of Mozart Concertos with an Historical View
    Kurs: CA 1004 30 hp 2018 Master in Music 120 ECTS Institutionen för Klassisk musik Handledare: Katarina Ström-Harg Examinator: Ronny Lindeborg Mónica Berenguer Caro Interpretation of Mozart concertos with an historical view 1 Preface The basis of this research originally came from my passion for my instrument. I started to think about the importance of Mozart's concertos about 4 years ago, when I began taking orchestra auditions and competitions. A horn player will perform Mozart concertos through his entire musical career, so I think it is necessary to know more about them. I hope to contribute to knowledge for new and future students and I hope that they will be able to access to the content of my thesis whenever they need it. In fact, I may have not achieved my current level of success without a strong support group. First, my parents, who have supported me with love and understanding. Secondly there are my teachers, Katarina Ström-Harg and Annamia Larsson, each of whom has provided patient advices and guidance throughout the research process. Thank you all for your unwavering support. 2 Abstract This thesis is an historical, technical and stylistic investigation of Mozart horn concertos. It includes a description of Mozart’s life; the moment in his life where the concertos were developed. It contains information about Ignaz Leitgeb, the horn player who has a close friendship with Mozart. Also, the explanation of his technical characteristics of the natural horn and the way of Mozart deal with the resources and limitations of this instrument, as well as the way of the interpretation of these pieces had been facilitated by the arrival of the chromatic horn.
    [Show full text]
  • 2019 Preview Notes • Week Three
    2019 Preview Notes • Week Three Friday, July 26 at 8:00pm—Marlboro College Dining Hall Piano Trio in F Major, Op. 80 (1847) Three Songs from William Robert Schumann Shakespeare (1953) Born June 8, 1810 Igor Stravinsky Died July 29, 1856 Born June 17, 1882 Duration: approx. 30 minutes Died April 6, 1971 Last Marlboro performance: 2018 Duration: approx. 7 minutes Last Marlboro Performance: 2012 Schumann wrote three piano trios, and though the opus designations between Schumann’s first two trios span When Mitsuko Uchida announced her co-directorship of almost 20 numbers, the trios were both composed in the Marlboro Music with Jonathan Biss last summer, she same year. Schumann himself stated that the second quoted Shakespeare’s beloved comment on music from makes a “friendlier and more immediate impression” than Twelfth Night: “If music be the food of love, play on!” The the first, which was written in a “time of gloomy moods.” Bard’s references to music, throughout his plays as well as This trio in F Major romps through a version of sonata his poems, are many. In this collection of songs, form in the first movement, exuberantly exploring Stravinsky chose to set Sonnet VIII, Music to hear, Ariel’s unexpected keys and closing with enthusiasm. The lyrical song “Five Fathoms Deep” from The Tempest, and the second movement provides balance, and the third cuckoo’s song “When Daisies Pied” from Love’s Labour’s movement continues with a quirkily elegant, dance-like Lost. Stravinsky combines some tonal implications with sense of motion. The final movement draws on previous limited serialist techniques to illustrate each song, themes to conclude the piece with mounting excitement.
    [Show full text]
  • Chamberworks a Musical Joke
    presents ChamberWorks A Musical Joke Letitia Quante, violin David Horak, violin and viola Marcia Cassidy, viola John Dunlop, cello Patrick Kennelly, horn Michael Huang ’20, horn Sun, Jan 19, 1 pm Top of the Hop • Dartmouth College • 2020 ChamberWorks is a series of free concerts presented by the Hop and the Dartmouth Department of Music, showcasing the talent of faculty and special guests, and is made possible by support from the Griffith Fund. Program Horn Quartet in E flat Major, K. 407 Wolfgang Amadeus Mozart (1756–1791) I. Allegro II. Andante III. Rondo: Allegro Quartet in C major, Op. 33, no. 3 The Bird Joseph Haydn (1732–1809) I. Allegro Moderato II. Scherzo – Allegro III. Largo IV. Presto Ein Musikalischer Spass (A Musical Joke), K. 522 Wolfgang Amadeus Mozart I. Allegro II. Menuetto and trio III. Adagio cantabile IV. Presto Program Notes Horn Quintet in E flat major K. 407 Germany and Austria and earning a considerable salary Wolfgang Amadeus Mozart (1756-1791) during a brief stint with Haydn’s orchestra in Esterhazy. Unfortunately, recent scholarship has cast doubt on the Mozart’s works containing parts for the horn can broadly idea, long-cherished by horn players, that he retired from be put in two categories: those written for hornists playing to open a cheesemonger’s shop on the outskirts whose playing he knew and esteemed, and those who of Vienna. couldn’t be trusted. Of the first category, to which his Horn Quintet K. 407 belongs, most were written for his But even if those biographical details were unknown, friend Joseph Leitgeb (or Leutgeb).
    [Show full text]
  • The Alphorn in North America: “Blown Yodeling” Within a Transnational Community
    City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-6-2021 The Alphorn in North America: “Blown Yodeling” Within A Transnational Community Maureen E. Kelly CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/682 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Alphorn in North America: “Blown Yodeling” Within A Transnational Community by Maureen E. Kelly Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Music, Hunter College The City University of New York 2021 01/06/2021 Barbara Hampton Date Thesis Sponsor 01/06/2021 Barbara Oldham Date Second Reader CONTENTS CHAPTER I: Meeting the North American Alphorn Community 1 1. Structure of Research 2. Data Gathering 3. Studying the Alphorn a. The History of the Alphorn b. Imagined Communities and Identity c. Cultural Tourism d. Organology CHAPTER II: “Auslanders:” Travels to Switzerland 8 1. Bill Hopson 2. Laura Nelson 3. Gary Bang CHAPTER III: Establishing North American Alphorn Schools 31 1. Utah 2. West Virginia 3. The Midwest CHAPTER IV: “We All Serve the Same Master:” The Alphorn Trade 49 CHAPTER V: An Instrument of Kinship 69 Bibliography 75 LIST OF ILLUSTRATIONS Bill Hopson in Frauenfeld 12 Harmonic Series 13 Excerpt, Brahms Symphony no. 1 in c minor 13 Albumblatt für Clara Schumann 14 Excerpt, Mozart Concerto no.
    [Show full text]
  • List of Period Horn Makers For
    List of period horn makers Alexander www.gebr-alexander.de Germany Classical horns: • Model 194 - natural horn in F (€3.050) with “combination crooks” (a modern variation on the cor solo) to make E, E flat, D, C and B flat basso. • Model 290 natural horn based on a Halari (original in the private collection of Joachim Pöltl of the WDR Köln). NB. Instruments built at A440. Berkeley Wind - www.berkeleywind.com USA “Berkeley Concertino” natural horn, comes with either five crooks (A, G, F, E flat and D) and a “half tone slide”. Birch Music Services - www.gerrybirch.co.uk UK. "Scherzo" hand horn with four crooks D, E flat, E and F. "An amazing inexpensive "entry level" hand horn for those players who wish to develop hand technique skill without paying thousands of pounds” Anthony Halstead.) Clark Brass Instruments - www.naturallyhorns.co.uk Canada. Classical horn: • Natural horn with Viennese or Bohemian bell. Corpus plus master crook and coupler system. Clark produces a master crook and coupler system (C alto, B flat alto, F plus five couplers) which covers the range from C alto to B flat basso Baroque horn: • Details available on request. NB: Clark’s approach to horn making is very much based on his interest in custom design or variations on his previous designs and his experience as a leading natural horn player. He enjoys making things to request stating that “bore, valves (or not), bell size / shape, design can all be tailored to need”. Recent projects have included valve horns, a German style hand horn with a detachable valve block for playing as a single horn in B flat or F, English style baroque horns, a compensating double horn (with the specific aim of improving the F side).
    [Show full text]
  • The Noble Trumpet and Other Brass Instruments
    OOK WORLD B Boekwêreld • Ilizwe Leencwadi a castle where walking sticks are common), even those who once Fanus often joked that his epitaph should read: ‘Nou is hy dood- were famous. ernstig’ (Now he is dead serious). Like all brilliant humourists, he It happened like this: I was asked to review Tien uit tien: stories seemed to have a need to be taken seriously, even if only once in en sêgoeters van Fanus Rautenbach (Tafelberg, 2010), a collection a while - for instance, Peter Sellers revealed that he wanted to be of stories by Fanus, edited by Danie Botha - which I did. I thought a serious actor. Imagine that! And most humourists suffered from nothing of it, except that he wrote some really good, original stories depression - humour is a ‘laugh with a tear’. But there was never and implemented unusual techniques. any evidence that Fanus Rautenbach was Then Botha asked me to visit the old man, who was pining for at- depressed, ever. Hopefully not too lonely tention. This was just before Christmas 2010. I was busy; could not either. even go out to Fanus maintained that humour Vredenburg to visit my Tiesj is one of two autobiographical is more than just cracking jokes. own mother. An acquaint- works by Rautenbach, the other being ance called. She would Fanus onthou en Sebastian lieg in die It is really about observing, set up a meeting. A coffee mou (met Piet Coetzer, Lapa, 2009). about knowing your subject shop near the ‘kieriekas- material, namely people. The teel’ in Claremont. Two With acknowledgement to Bolander.
    [Show full text]
  • MUSICIAN BIOGRAPHIES Bernard Mindich Bernard Lisa-Marie Mazzucco
    CENTER FOR THE PERFORMING ARTS AT PENN STATE ONSTAGE ANI KAVAFIAN, violin Bernard Mindich DAVID SHIFRIN, clarinet MIHAI MARICA, cello , viola TARA HELEN O’CONNOR, flute PAUL NEUBAUER YURA LEE, viola Lisa-Marie Mazzucco Bernard Mindich Lisa-Marie Mazzucco ARNAUD SUSSMANN, violin © 2007 NyghtFalcon All Rights Reserved Today’s performance is sponsored by Tom and Mary Ellen Litzinger COMMUNITY ADVISORY COUNCIL The Community Advisory Council is dedicated to strengthening the relationship between the Center for the Performing Arts and the community. Council members participate in a range of activities in support of this objective. Nancy VanLandingham, chair Mary Ellen Litzinger Lam Hood, vice chair Bonnie Marshall Pieter Ouwehand William Asbury Melinda Stearns Patricia Best Susan Steinberg Lynn Sidehamer Brown Lillian Upcraft Philip Burlingame Pat Williams Alfred Jones Jr. Nina Woskob Deb Latta Eileen Leibowitz student representative Ellie Lewis Jesse Scott Christine Lichtig CENTER FOR THE PERFORMING ARTS AT PENN STATE presents The Chamber Music Society of Lincoln Center Tara Helen O’Connor, flute David Shifrin, clarinet Ani Kavafian, violin Arnaud Sussmann, violin Yura Lee, viola Paul Neubauer, viola Mihai Marica, cello 7:30 p.m. Thursday, November 20, 2014 Schwab Auditorium The performance includes one intermission. This presentation is a component of the Center for the Performing Arts Classical Music Project. With support from The Andrew W. Mellon Foundation, the project provides opportunities to engage students, faculty, and the community with classical music artists and programs. Marica Tacconi, Penn State professor of musicology, and Carrie Jackson, Penn State associate professor of German and linguistics, provide faculty leadership for the curriculum and academic components of the grant project.
    [Show full text]
  • Foreword It Is the Mouthpiece Which Provides the Vital Connection
    Foreword It is the mouthpiece which provides the vital connection between the musician and his or her wind instrument. Therefore, the mouthpiece must then meet the most personal and critical demands of fine adjustment in order to achieve the desired tonal color, flexibility and sense of well-being on the instrument. While a student, it became clear to me that the right choice of equipment provides decisive help in achieving musical goals. It also became apparent that I had met the prerequisites for carrying out the task of designing innovative and qualitative mouthpieces, namely; (1) having advanced musical training (Conservatory of Linz, Vienna Music University), and (2) having the proper mechanical knowledge (completed apprenticeship in a technical sector). Now, as a professional musician, I am confronted daily with meeting the challenge of making mechanical adjustments for various physical and musical demands. This being the case, it is easier for me to identify with the problems and wishes of colleagues, and to find proper solutions to their problems. The Catalog Recognizing that my developmental work is constantly proceeding – and that I can draw on the experiences of many customers – I feel that it is now necessary to select and provide an overview of the present variety of products. Special niche products are to be put to the side (but not completely cancelled) in order to present the advantages of the more popular mouthpieces. Revisions (especially on trombone mouthpieces) have been labeled, and improvements described. Now I can only hope that you can find a fitting combination among my products that meets your needs.
    [Show full text]
  • Chamber Music
    New Mozart Edition VIII/19/2 Quintets with Wind Instruments WOLFGANG AMADEUS MOZART Series VIII CHAMBER MUSIC WORK GROUP 19: STRING QUINTETS AND QUINTETS WITH WIND INSTRUMENTS SECTION 2: QUINTETS WITH WIND INSTRUMENTS PRESENTED BY ERNST FRITZ SCHMID 1958 International Mozart Foundation, Online Publications III New Mozart Edition VIII/19/2 Quintets with Wind Instruments Neue Mozart-Ausgabe (New Mozart Edition)* WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna * Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. International Mozart Foundation, Online Publications IV New Mozart Edition VIII/19/2 Quintets with Wind Instruments CONTENTS Editorial Principles ……………..………………………………………………..…….. VI Foreword………….…………………….………………………………………….…… VII Facsimile: Entry relating to the Clarinet Quintet in A KV 581 from the work catalogue in Mozart’s own hand XIV Facsimile: Title page of the first printing of the Clarinet Quintet in A KV 581………………………………… XIV Facsimile: First page of the autograph for a fragment of a Clarinet Quintet in B b KV App.
    [Show full text]
  • Natural Horn Models
    Natural Horn Models Engelbert Schmid Tiefenried Waldhörner Engelbert Schmid GmbH, Bellerweg 3, D-86513 Mindelzell Telefon (08282) 890412, Fax (08282) 890512 Email: [email protected] Engelbert Schmid Natural Horn Models What in the beginning was considered as a fashion, in the meantime has become a firm part of the music- world: often supported by the idealism of the performers, ensembles last which play on original instruments or their copies. In the same way as this music practice often trains the sound sensibility of the musicians, I as a hornmaker had to recall historic measures, material thicknesses and manufacturing methods. By the way, this also influenced the production method of our modern valve horn bells. Let me introduce you to the result of an intensive labour of development, which has spared no expense for material or tool costs, in total 4 Natural horn models: 1. "Corno da caccia". at the same time "Corno da tirarsi” I do not want to join in the discussion which baroque works shall or can be performed by hornplayers and which by trumpet-players, but I would rather call on both sides to realize the baroque sound-world. There simply is no baroque horn on which all baroque parts can be interpreted authentically. However there was a vast palette of instrument types, which offered an interesting and seamless transition from the trumpet to the hunting-horn with big bell. My "Corno da caccia"- version meets the brighter side of the sound-palette. "Corno da caccia", "Corno da tirarsi" Engelbert Schmid Original instrument, about 1730, Friedrich Ehe in Nurenberg, in high D, with C-crook and 2 intonation pieces, out of the museum Caroline Augusteum, Salzburg Description of my "Corno da caccia"- and at the same time "Corno da tirarsi"-version: Utilization: Parts for "Corno da caccia", "Corno da tirarsi", "Lituus” Keys: From High D to low C (with A=415Hz), crooks.
    [Show full text]
  • Noteson the Program
    11-04 Myers.qxp_Layout 1 10/23/15 2:45 PM Page 27 NOTES ON THE PROGRAM By James M. Keller, Program Annotator The Leni and Peter May Chair Divertimento in D major, K.125a/136 Horn Concerto No. 2 in E-flat major, K.417 Serenade No. 10 in B-flat major, Gran Partita, K.361/370a Wolfgang Amadeus Mozart ust what is this piece supposed to be, any - Then, too, this work has long been claimed Jway, this Divertimento in D major ? It’s one as a piece of chamber music, and among the of three roughly similar works that, in the com - available recordings music lovers will find poser’s manuscript, are headed with the words readings by such revered ensembles as the “di Wolfgango Amadeo Mozart Salisburgo 1772.” That leaves no doubt that Mozart wrote all three IN SHORT in his hometown of Salzburg (Italianized as “Salisburgo”), and historical evidence suggests Born: January 27, 1756, in Salzburg, Austria that they must date from the early months of that year — when he was 15 going on 16, and a Died : December 5, 1791, in Vienna decade along in his composing career. Each of the three pieces is also headed with the inscrip - Works composed and premiered: Diverti - tion Divertimento I (or II or III), but that is writ - mento, composed early in 1772, in Salzburg; ten in a hand other than Mozart’s. It was in no premiere unknown. Horn Concerto No. 2 com - way unreasonable to call such pieces diverti - pleted in Vienna on May 27, 1783; premiere un - mentos; the term had no very specific meaning known.
    [Show full text]