CHANDOS COLLECT
mozart don giovanni (arranged for wind ensemble)
Athena Ensemble
CHAN 6597
CHAN 6597 Booklet Cover.indd 1 24/11/10 16:03:08 Wolfgang Amadeus Mozart (1756–1791) Don Giovanni, KV 527 Opera in Two Acts Arranged for two oboes, two clarinets, two horns, and two bassoons by Josef Triebensee (1772–1846) 1 Overture 3:44 2 Introduction – ‘Notte e giorno faticar’ 1:53 3 ‘Ah! chi mi dice mai’ 2:36 4 ‘Madamina, il catalogo è questo’ 3:33 5 ‘Giovinette che fate all’amore’ 1:04 6 ‘Là ci darem la mano’ 2:54 7 ‘Non ti fidar, o misera’ 3:45 8 ‘Della sua pace’ 3:37 9 ‘Fin ch’han dal vino’ 0:57 10 ‘Batti, batti, o bel Masetto’ 3:07 11 ‘Presto, presto, pria ch’ei venga’ 6:27 12 ‘Eh via buffone’ 1:04 13 ‘Ah, taci, ingiusto core’ 2:44
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CHAN 6597 Booklet.indd 2 24/11/10 16:03:44 14 ‘Deh, vieni alla finestra’ 1:45 15 ‘Metà di voi quà vadano’ 2:08 16 ‘Vedrai, carino’ 3:01 17 ‘Per queste tue manine’ 2:41 18 ‘Mi tradì quell’ alma ingrata’ 1:47 19 ‘Non mi dir, bell’ idol mio’ 3:30 20 ‘Già le mensa e preparata’ 3:16 TT 56:00
Athena Ensemble David Theodore oboe John Whiting oboe Roger Fallows clarinet Donald Watson clarinet John Butterworth horn Christopher Larkin horn Robert Jordan bassoon John Orford bassoon
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CHAN 6597 Booklet.indd 3 24/11/10 16:03:44 Mozart: Don Giovanni for Wind Ensemble
Transcribing opera and ballet scores for expense of hiring eight or nine wind players and harmonie (a useful word to define the classical purchasing the extensive repertoire necessary wind band, consisting of a pair of horns for them to play, was their desire to hear their with bassoons below and pairs of treble favourite operas played on wind instruments instruments, most commonly oboes and/ as background music to their enormously long or clarinets, above) seems to have been a meals. Mozart brilliantly portrayed such a scene wholly Viennese innovation of the 1780s. in this very opera: in the supper scene between Short selections of movements, normally cut, Don Giovanni and the Statue, Mozart had a had previously been sold as potpourris by harmonie octet playing, as background music both German and French publishers, but the to the meal, arrangements from three operas Viennese aristocracy’s requirement was for that had recently been favourites in Vienna. altogether more substantial arrangements, and Significantly, Mozart makes the point that the the one that appears on this disc, containing latest operas are known even to the serving as it does the greater part of the opera in classes, as Leporello immediately identifies twenty movements, taking nearly an hour to the music from Martín y Soler’s Una cosa rara play, is an excellent example. and Giuseppe Sarti’s Fra i due litiganti il terzo Once their appetite for harmonie gode, and it is only a joke on the part of Mozart transcriptions had been whetted, Viennese against himself that makes Leporello doubtful noblemen used them in all kinds of ways, about Le nozze di Figaro. Transcriptions for such as performances in their gardens in harmonie, once established in Vienna, soon the summer months, in formal concerts, found favour elsewhere, especially in the and on gala and festival occasions. But great cities of the Austrian Empire, where the principal reason why so many of them, other courts, which had previously employed including the Emperor himself and his brother modest harmonien to play originally composed Maximilian Franz, and the Princes Esterházy, partitas, added them also to their repertoires. Schwarzenberg, Lobkowitz, Liechtenstein, and Increasingly, also military bands and even Grassalkowitz, were prepared to go to the great monasteries – seemingly any organisation that
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CHAN 6597 Booklet.indd 4 24/11/10 16:03:44 fostered wind instrument playing – wanted a Emperor’s Harmonie and at the same time the repertoire of harmonie transcriptions. Burgtheater orchestra and in the Hofkapelle. This demand produced in its wake a healthy After 1782, and until his death in 1801, Went was amount of work among copyists – even also given the task of making the transcriptions publishers in the early years of the nineteenth of operas for the Emperor’s Harmonie to play. century found the demand adequate to It was perhaps natural that Josef Triebensee warrant printed editions. Most of all, it afforded also should become an oboist, natural too work to the men who actually made the that he should occasionally deputise in his transcriptions. Some of these may forever early years for his father and Went. In 1796 remain unknown, as so many extant copies the connection between the families became are anonymous. A few worked independently, closer still when Josef married Went’s eldest advertising their wares through the daily daughter, Maximiliane. The professional career press and musical journals. But remarkably of Josef Triebensee was notably successful. enough, over a period of some fifty years He held early theatre appointments in Vienna, most of the Viennese harmonie transcriptions having been a member of the orchestra in the were the work of three men only: Johann Went Theater auf der Wieden when Die Zauberflöte (1745–1801), Josef Triebensee (1772–1846), was first performed, and a member of the and Wenzel Sedlak (1776–1851). To say that Kärntnerthortheater orchestra in 1793–94. At they dominated the market would be an the same time he was a founder member of the understatement. Their influence emanates from harmonie formed by Prince Aloys Liechtenstein their good fortune to have been in aristocratic to play both at his country seat at Feldsberg employment, and their virtual monopoly, one (now Valtice in Czechoslovakia) and in Vienna. suspects, was a direct result of their close It had been Prince Liechtenstein’s relationship with one another. Examples of resolve as early as 1782 to form a harmonie, their work can still be found all over Europe in as the letter from Mozart to his father on court, public, military, and monastery libraries, 23 January, discussing possible sources in manuscript and in printed editions. For of income, indicates (‘The first is young more than twenty‑five years Johann Went Prince Liechtenstein, who would like to had worked alongside Georg Triebensee, collect a harmonie… for which I should Josef Triebensee’s father, as an oboist, first in write the music…’), but for some reason he Prince Schwarzenberg’s Harmonie, then in the could not fulfil his ambition until December
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CHAN 6597 Booklet.indd 5 24/11/10 16:03:45 1789. Josef Triebensee rose quickly in his contract to Prince Schwarzenberg’s Harmonie. Prince’s esteem and in 1794, at the age of only But it was Triebensee who sought public sales twenty-two, he was made Kapellmeister, a post most effectively, mainly through marketing which compelled him to give up his theatre a massive collection which he entitled appointment. One of his more important duties Miscellanées de Musique. He published this, was to produce repertoire for the harmonie, starting in 1810, in thirty-two parts, the majority and the enormous number of his extant of them opera and ballet transcriptions, transcriptions bears witness to the fecundity of with each part containing upwards of ten his talent in this respect. He retained this post movements. As such it probably reflected the until July 1809 when Prince Johann Josef, the greater part of the repertoire he had provided brother and successor of Aloys, disbanded the for Prince Liechtenstein. harmonie. Most of his latter days were spent in Strangely enough, his transcription of Prague as opera director in succession to Carl Don Giovanni did not form a part of this Maria von Weber. He finally retired in 1836 and collection – probably, he had sold it publicly died there ten years later. Meanwhile, Prince many years earlier. Both Went and Triebensee Liechtenstein reformed his harmonie in 1812, had made their own arrangements of Mozart’s and appointed as Kapellmeister Wenzel Sedlak, score, Went soon after the first Viennese a man who had been one of the clarinettists performance on 7 May 1788, and Triebensee under Triebensee and who had, no doubt under probably in the early 1790s. Both Prince Triebensee’s directions, provided the occasional Esterházy and Prince Lobkowitz purchased harmonie transcription. From 1812 until 1835, copies of Triebensee’s version, and yet when the harmonie was finally dissolved, this another copy became part of the Dutch royal work became his sole responsibility. collection. The twenty movements used by All three – Went, Triebensee, and Sedlak – Triebensee in his transcription comprise mainly were free to make public their transcriptions. ensembles and arias, many of which he used Sedlak provided repertoire regularly for the in their entirety. He also transcribed some Emperor’s Harmonie in its latter days and music from both finales, but their contents also had some transcriptions printed. Went were substantially cut and even occasionally Mozart occasionally advertised his own manuscript reordered. Serenade in B flat • Divertimento in F editions or sold them via other Viennese CHAN 6575 copyists, and also provided repertoire under © 1980 Roger Hellyer
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CHAN 6597 Booklet.indd 6 24/11/10 16:03:45 Also available
Mozart Serenade in B flat • Divertimento in F CHAN 6575
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CHAN 6597 Booklet.indd 7 24/11/10 16:03:45 Also available
Haydn Haydn Symphonies Nos 22, 24, and 30 Symphonies Nos 43, 44, and 49 CHAN 6579 CHAN 6590
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CHAN 6597 Booklet.indd 8 24/11/10 16:03:45 Also available
Haydn Haydn Symphonies Nos 22, 24, and 30 Symphonies Nos 43, 44, and 49 CHAN 6579 CHAN 6590
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CHAN 6597 Booklet.indd 9 24/11/10 16:03:46 Also available
Boyce 12 Overtures • 3 Concerti grossi CHAN 6665(2)
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CHAN 6597 Booklet.indd 10 24/11/10 16:03:46 You can now purchase Chandos CDs or download MP3s online at our website: www.chandos.net
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Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX, UK. E-mail: [email protected] Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201
Recording producer Brian Couzens Sound engineer Ralph Couzens Editor Ralph Couzens Recording venue Rosslyn Hill Chapel, Hampstead, London; 27 and 28 February 1980 Front cover Artwork by designer Design and typesetting Cassidy Rayne Creative (www.cassidyrayne.co.uk) Booklet editor Finn S. Gundersen Boyce p 1980 Chandos Records Ltd 12 Overtures • 3 Concerti grossi © 2010 Chandos Records Ltd CHAN 6665(2) Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK
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CHAN 6597 Booklet.indd 11 24/11/10 16:03:46 MOZART: DON GIOVANNI FOR WIND ENSEMBLE – Athena Ensemble CHAN 6597 4 2 Domain 24/11/10 16:02:24 7 TT 56:00 9 5 horn Public horn 6 oboe clarinet bassoon 5 clarinet oboe ADD bassoon 1 CHAN 6597 CHAN 1 5 9 LC 7038 0 Country of origin UK Country of origin
Athena Ensemble David Theodore John Whiting Roger Fallows Donald Watson John Butterworth Christopher Larkin Robert Jordan John Orford 2:41 3:45 1:47 3:01 3:07 1:45 3:16 3:37 0:57 3:44 3:30 2:44 6:27 3:33 1:53 2:36 2:54 2:08 1:04 1:04 TT 56:00 (1756 –1791) COLLECT CHANDOS (1772 –1846) 1980 Chandos Records Ltd © 2010 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England Ltd Chandos Records Records Ltd © 2010 Chandos 1980 Chandos Records p
Opera Acts in Two Arranged for two oboes, two clarinets, two horns, and two bassoons by Josef Triebensee Overture ‘Vedrai, carino’ ‘Per queste tue manine’ ‘Mi tradì quell’ alma ingrata’ ‘Non bell’ mi dir, idol mio’ ‘Dellasua pace’ ‘Fin ch’han dal vino’ ‘Batti, batti, o bel Masetto’ ‘Presto, presto, pria ch’ei venga’ ‘Eh via buffone’ ‘Ah, taci, ingiusto core’ ‘Deh, vieni alla finestra’ ‘Metà di voi quà vadano’ Introduction – ‘Notte e giorno faticar’ ‘Ah! chi mi dice mai’ ‘Madamina, il catalogo è questo’ ‘Giovinette che fate all’amore’ ‘Là ci darem la mano’ ‘Non ti o fidar, misera’ ‘Già le mensa e preparata’ Wolfgang Amadeus Mozart Wolfgang Don Giovanni, KV 527 Giovanni, Don
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CHAN 6597 Inlay.indd 1 MOZART: DON GIOVANNI FOR WIND ENSEMBLE – Athena Ensemble CHAN 6597