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Potocka, Princess Marcelina Czartoryska, a gifted bearers of the coffin, performing this last service for Monika Guca DDD pianist, and Franchomme. Princess Czartoryska and Chopin. PHILHARMONIC SOLOISTS • CELLO Franchomme began to play the G minor sonata, until a The flautist Monika Guca was born in Lower Austria and had lessons in recorder and flute from the age of eight. 8.557708 fit of coughing from the sick man brought the concert to Franz Bartolomey From 2000 she studied with Professor Gisler-Haase at the Vienna University for Music and Performing Arts and in an end. A few days later Franchomme was one of the English Version: Keith Anderson 2004 embarked on an exchange year with Profesor Greiss-Armin at the Karlsruhe Musikhochschule. She won first prize in the Prima la Musica Competition in 1999, 2001 and 2003, and the Special Prize of Musica Juventutis in 2004. She has a scholarship from the Herbert von Karajan Centre, and since 2003 has been a member of the Yehudi THE ART OF THE CELLO Menuhin Foundation’s Live Music Now. In 2000 she founded the Novacella Trio of two flutes and a cello. She has Franz Bartolomey appeared in concerts at the Vienna Konzerthaus and the RadioKulturhaus, and has toured with the Young Vienna Philharmonic. Haydn • Chopin • Hummel The cellist Franz Bartolomey was born in Vienna in 1946 and had his first lessons, from the age of six, with Ewald Winkler. He studied at the Vienna Academy of Music and Performing Arts with Richard Krotschak and privately with Emanuel Brabec. In 1963 he won the Casals Medal in Budapest, and in 1966 the Tchaikovsky Diploma in Franz Bartolomey, Cello • Madoka Inui, Piano Moscow, with triumph in Vienna in 1976. He has served as principal cellist with the Vienna Philharmonic since Monika Guca, Flute 1973. Franz Bartolomey is a third-generation member of the orchestra. His grandfather was principal clarinet and his father a violinist. Since 1997 he has been a member of the Vienna Hofmusikkapelle, and is a member of a number of chamber-music groups, including the Vienna Soloists Ensemble and the Vienna Virtuosi. He has appeared as a soloist under the conductors Leonard Bernstein, James Levine, Daniel Barenboim, André Previn, Roger Norrington and Simon Rattle, among others, in Philharmonic subscription concerts, the Salzburg Festival, the Vienna Festival Weeks, Vienna Modern, Carinthian Summer and the Salzburg Mozart Weeks. He has appeared as a soloist with Claudio Abbado’s Lucerne Festival Orchestra, and in chamber music with André Previn, Simon Rattle, Donald Runnicles, Oleg Maisenberg, Helmut Deutsch, Ernst Kovacic, Tzimon Barto, Stephan Vladar, Boris Pergamenschikov, Igor Oistrakh, Christian Altenburger, Pierre Amoyal, Gil Shaham, Sylvia McNair, Barbara Bonney, Kathleen Battle, and Jessye Norman. He has given master-courses at the Attergau International Orchestral Institute and the Sapporo Pacific Music Festival, and played for many television transmissions and recordings as a soloist and in chamber music, including a recording of Richard Strauss’s Don Quixote with the Vienna Philharmonic under André Previn, and Cello Sonatas by Brahms and Richard Strauss with Madoka Inui. He plays Madoka Inui Monika Guca a cello by David Tecchler, made in Rome in 1727. Madoka Inui The sponsors of the Philharmonic Soloists series The pianist Madoka Inui was born in Kobe and had her first piano training in Tokyo. She studied at the Vienna Conservatory with Dianko Iliew and Roland Batik and was awarded her diploma unanimously with distinction. She The Herbert von Karajan Centre was opened in November 1995 and has established itself, in the spirit of the name won first prize in the Città di Stresa international piano competition and has appeared as a soloist in Austria, Japan of its patron, as a meeting and development centre for young artists and as a forum for artistic activities. Following and Spain. Since 1997 she has concentrated chiefly on chamber music, working with members of the Vienna the many and varied interests of the conductor, the concept is structured under three main headings: development Philharmonic such as Franz Bartolomey, Clemens Hellsberg, Peter Schmidl and Volkhard Steude. She broadcasts of the younger generation, events and service. Since its foundation awards have been made to singers, conductors for Austrian radio and has appeared in concerts and gala performances with artists such as Luc Bondy, Gérard and instrumentalists. The archive administers Herbert von Karajan’s legacy, and special film production continues Mortier, Gert Voss, Ioan Holender, Peter Ruzicka, Neil Shicoff, Thomas Hampson, Ferruccio Furlanetto and Leo his tradition. Nucci. She has participated in matinées and soirées with Salman Rushdie, Umberto Eco, Antonio Lobo Antunes and Donna Leon. With the Vienna Philharmonic principal cellist Franz Bartolomey she has recorded music for The Radio Culture House of Austrian Radio (ORF) in Vienna was opened in 1997 and has established an annual cello and piano by Johannes Brahms, Johann Strauss and Richard Strauss. She is a contract artist of Bösendorfer in programme of more than 450 events ranging over a wide variety of genres for the public with cultural interests, Vienna, and plays here on a Bösendorfer instrument. where classical appears together with the avant-garde, pop and cabaret. This cultural mix is characteristic of the www.madokamusic.com programming philosophy of the Radio Culture House. 8.557708 5 6 8.557708 557708 bk VPCello US 4/01/2005 03:36pm Page 2

range of musical feeling. There were wonderful descending chromatic scale shows where his path is was Kapellmeister at Weimar. The work is in connection with recitative: the cello accompanies the Chamber Works for Cello concertos by Schumann, Dvorˇák, Saint-Saëns, leading. characteristic of this transition. It often seems as if one dialogue between flute and piano, showing them how to Hummel • Haydn • Chopin Shostakovich, Tchaikovsky (Rococo Variations), Continuo playing is a fascinating element in opera. is hearing a cello sonata by Mozart (nothing of the kind keep their fantasy within bounds. Brahms (Double Concerto), and Elgar, and works in Working on recitatives in Mozart’s operas with exists), mingled with passages of poignancy, while A Short History of the Cello cellos. Montagnana, Grancino, Testore and Tecchler which the cello had a concertante rôle by Richard Nikolaus Harnoncourt, a conductor with whom many elements have the force of Beethoven, and the specialised almost exclusively in the instrument. Strauss (Don Quixote) and Hindemith. collaboration was among my most decisive artistic beginning of the first movement offers a melody like a Fryderyk Chopin (1810-1849): The violoncello, meaning, in Italian, a small violone, is My instrument, on which I play in the present For me the cello has a particularly fascinating and encounters, opened a completely new dimension of particularly fine theme of Chopin. The second Sonata in G minor for cello and piano Op. 65 generally known by the shorter name of ‘cello’, and is a recording, was made by David Tecchler (1666-after important place in opera. There it embodies the direct musical expression. The specific dramatic situations movement is a Romance, that today would be said to string instrument an octave lower than the viola, its four 1743) in Rome in 1727. A master-craftsman from expression of the human soul in music. With its range it that drive the plot forward are found in the recitatives. have hit quality: the principal theme resembles the 1971 Chopin too was one of the greatest virtuoso pianists of strings tuned C-G-d-a. Its structure and form correspond Salzburg, he first went to Venice, where he experienced has an almost physical affinity with the human and Each individual note has its importance, with notes that hit-song Butterfly, my Butterfly by the Belgian Daniel his time and his compositions are almost exclusively for to those of the violin, but the neck is relatively shorter some hostility, moving in 1705 to Rome where he responds directly to it. It is the instrument that can are violent, pointed, loud, gentle, particularly Gérard, which topped the hit-parade for months. This the piano. It is through his friendship with the famous and the sides deeper. The bow is somewhat shorter, but reached the height of his profession, considered the express the deepest feelings of love and death. beautifully played, slow, fast or without vibrato. As a shows how a composer of this ability can survive after cellist Auguste Franchomme (1808-1884) that he wrote stronger than that used for the violin. most important maker there. His splendidly made Unique in all opera is the cello solo in Die Frau continuo player one is a part of the musical dramatic one and a half centuries of oblivion. In the third three of his four chamber-music works for cello and As the violin may correspond to the discant, and the instruments are marked by their great fullness of tone. ohne Schatten by Richard Strauss, my favourite solo: situation. movement the internationally celebrated virtuoso piano. viola to the tenor, so the cello was originally identical He generally preferred very large models, using special the curtain falls, while the scene is changed, and the pianist comes to the fore: here the cello part is The Cello Sonata is a late work that he wrote for with the bass of the old viola da braccio family. It had a wood and a yellow-red varnish. A characteristic is the cello, free of stage action, becomes the protagonist. discriminated against in such a way that the important his friend, with whom he gave the first performance in longer struggle than its two sisters to free itself from the lengthening of the corners and the particularly wide F King Philip sings in the great aria from Verdi’s Don The CD: Works by Hummel, Haydn and Chopin. cellist Friedrich Grützmacher in the nineteenth century his last concert in Paris on 16th February 1848. On that gamba family. In 1740 there appeared in Amsterdam a holes. Carlo in dialogue with the cello of his isolation and in his edition proposed a skilful dialogue between cello occasion the first movement, with which Chopin was treatise by Hubert Leblanc, a lawyer and music-lover While the gamba remained the instrument of erotic desires; the cello first sinks down, then rises a Johann Nepomuk Hummel (1778-1837): and piano. Here we have opted for this version. not happy, was not played. The work had a difficult from France, that throws a characteristic light on the soloists, the cello, then generally with five or six strings, little, allows a glimmer of hope to be heard, and finally Grand Sonata in A major for cello and piano, birth. ‘I throw the sonata into a corner, then take it up importance of the violoncello in that time. The work is a was reduced to strengthening the continuo in the despairs. The music expresses resignation and the cello Op. 104 again’, Chopin wrote, expressing his doubts. vigorous defence of the viola da gamba against the orchestra and in chamber music. supports the singer’s feelings. Joseph Haydn (1732-1809): In the first movement the theme is stated by the violoncello that was slowly encroaching on the former’s From the end of the seventeenth century Italy took The duet of Othello and Desdemona at the end of Johann Nepomuk Hummel was born in 1778 in what is Trio in G major for flute, cello and piano, piano and taken up gracefully by the cello. Chopin here territory. This was in fact a completely unintelligible the lead in compositions for the cello. In 1689 the first act of Verdi’s Otello is accompanied by a cello now Bratislava and died in Weimar in 1837. At present Hob. XV:15 combines all the charms of his decorative piano writing polemic, since at the time there was little literature on Domenico Gabrielli wrote a Ricercar for the cello and solo, then joined by the whole cello section; the world he is undergoing a remarkable revival, after more than with an astonishing feeling for the particular qualities of the younger instrument that was worth talking about. laid the foundation for the independent solo literature of of the two lovers is still as it should be, yet Othello 150 years in which he was virtually forgotten. His Extensive correspondence survives over Haydn’s three the cello. The three-part Scherzo of the second This was first changed by the Duport brothers, who the instrument. In the first half of the eighteenth century conjures away the revenge of Fate on the outsider, too extensive list of works is now a source of rediscovery. Flute Trios, Hob.XV:15-17 from the years 1789-1790. movement, with a Trio of melodic delicacy, leads to a ranked as the most important champions of the new Vivaldi and Tartini, among others, and, with some fortunate in his love. The son of a violinist, Hummel was exceptionally gifted The leading London music publisher Bland travelled much too short central movement: the Largo, its melody school of cello-playing both in duo sonatas, such as virtuosity, Boccherini, wrote sonatas for the cello. The At the beginning of the first act of Wagner’s Die as a child. For two years Mozart took him into his house personally to Esterháza to buy music from Haydn, who stated by the cello, is, in its conciseness, a movement of those of Beethoven, and in chamber music, as, for instrument acquired new importance in the transition to Walküre Siegmund and Sieglinde do not know that they in Vienna as a pupil, an unparallelled act of pedagogic was employed by Prince Esterházy as Kapellmeister. unforgettable beauty. The Finale with its drive and example, the classical string quartet and quintet. the classical period through composers such as Carl are twins. The eyes of the two outcasts meet and they generosity on the part of the master. Haydn made him The trios for flute (or, optionally, for violin), cello and subtlety effects a balance between the two instruments. It was about 1710 that the violoncello acquired its Stamitz, Luigi Boccherini, Georg Matthias Monn, and experience happiness for the first and last time. Here too his successor in the Esterházy musical establishment. piano were exclusively promised to the Vienna The period of composition of the work was marked classical dimensions through the Italian violin-maker particularly Joseph Haydn, who wrote solo concertos an almost recitative-like cello solo supports the He rivalled Beethoven for the position of the most publisher Artaria, but England seemed to the old by the life-threatening tuberculosis and material want Antonio Stradivari (1644 or 1648/9-1737), with a body for the cello. intimacy of the situation. important pianist in Vienna, with the verdict not composer sufficiently far away to sell the trios again that overshadowed the end of Chopin’s life. As a star length of 75-76 and a depth of 11.5 centimetres. After In the nineteenth and twentieth centuries the Agathe’s aria from Weber’s Der Freischütz is infrequently in Hummel’s favour. Chopin admired him, and to turn into cash once more the triumphant success and virtuoso of Paris salons he did well, but maintained that there were many other cellos built, as well as cantabile playing of the cello acquired growing accompanied by a pure and romantic cello that reveals Schumann, after initial declarations of respect, showed of his London stay after a tour on which he embarked in a corresponding life-style. There were neither royalties gambas, and until about 1800 instruments of a mixed importance. Generations of romantic composers made to us the unfulfilled love, hope and confidence that the his contempt for him and called him a figure from the 1790. nor systems of licensing, and in illness savings were form from both types, among other things with the use of the particular feeling of which the cello was power of evil will not triumph and love will not always past. This is typical of the injustice Hummel suffered. Haydn’s genius is unmistakable in these trios quickly exhausted. The relationship with the great love change of a straight neck into a neck at an angle. The capable, giving expression to melodic sonority and remain unfulfilled. Today he seems to us a bridge between Mozart and through his incomparable wit, humour, liveliness and of his life, the writer George Sand, was over. use of the spike first became customary in about 1860. melancholy resignation. In the chamber music of When Cavaradossi, in Puccini’s Tosca, is about to Chopin, between the Viennese classical and the high delight in modulation. The rôle of the cello in this trio is Here things came full circle: on 15th October 1849, The greatest masters of violin-making, such as Beethoven, Brahms, Fauré, Grieg, Rachmaninov, die, the cello and the clarinet, operatic instruments that romantic. not unduly demanding, but here it fulfils again the only two days before his death, Chopin was visited by his Amati, Guarneri and Stradivari, also started to make Debussy, and others, cellists could explore the whole express despair, accompany him on his last way. A Hummel wrote his Cello Sonata in 1824, when he apparently subordinate function that I have remarked on last friends, his former pupil, his beloved Delfina

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range of musical feeling. There were wonderful descending chromatic scale shows where his path is was Kapellmeister at Weimar. The work is in connection with recitative: the cello accompanies the Chamber Works for Cello concertos by Schumann, Dvorˇák, Saint-Saëns, leading. characteristic of this transition. It often seems as if one dialogue between flute and piano, showing them how to Hummel • Haydn • Chopin Shostakovich, Tchaikovsky (Rococo Variations), Continuo playing is a fascinating element in opera. is hearing a cello sonata by Mozart (nothing of the kind keep their fantasy within bounds. Brahms (Double Concerto), and Elgar, and works in Working on recitatives in Mozart’s operas with exists), mingled with passages of poignancy, while A Short History of the Cello cellos. Montagnana, Grancino, Testore and Tecchler which the cello had a concertante rôle by Richard Nikolaus Harnoncourt, a conductor with whom many elements have the force of Beethoven, and the specialised almost exclusively in the instrument. Strauss (Don Quixote) and Hindemith. collaboration was among my most decisive artistic beginning of the first movement offers a melody like a Fryderyk Chopin (1810-1849): The violoncello, meaning, in Italian, a small violone, is My instrument, on which I play in the present For me the cello has a particularly fascinating and encounters, opened a completely new dimension of particularly fine theme of Chopin. The second Sonata in G minor for cello and piano Op. 65 generally known by the shorter name of ‘cello’, and is a recording, was made by David Tecchler (1666-after important place in opera. There it embodies the direct musical expression. The specific dramatic situations movement is a Romance, that today would be said to string instrument an octave lower than the viola, its four 1743) in Rome in 1727. A master-craftsman from expression of the human soul in music. With its range it that drive the plot forward are found in the recitatives. have hit quality: the principal theme resembles the 1971 Chopin too was one of the greatest virtuoso pianists of strings tuned C-G-d-a. Its structure and form correspond Salzburg, he first went to Venice, where he experienced has an almost physical affinity with the human and Each individual note has its importance, with notes that hit-song Butterfly, my Butterfly by the Belgian Daniel his time and his compositions are almost exclusively for to those of the violin, but the neck is relatively shorter some hostility, moving in 1705 to Rome where he responds directly to it. It is the instrument that can are violent, pointed, loud, gentle, particularly Gérard, which topped the hit-parade for months. This the piano. It is through his friendship with the famous and the sides deeper. The bow is somewhat shorter, but reached the height of his profession, considered the express the deepest feelings of love and death. beautifully played, slow, fast or without vibrato. As a shows how a composer of this ability can survive after cellist Auguste Franchomme (1808-1884) that he wrote stronger than that used for the violin. most important maker there. His splendidly made Unique in all opera is the cello solo in Die Frau continuo player one is a part of the musical dramatic one and a half centuries of oblivion. In the third three of his four chamber-music works for cello and As the violin may correspond to the discant, and the instruments are marked by their great fullness of tone. ohne Schatten by Richard Strauss, my favourite solo: situation. movement the internationally celebrated virtuoso piano. viola to the tenor, so the cello was originally identical He generally preferred very large models, using special the curtain falls, while the scene is changed, and the pianist comes to the fore: here the cello part is The Cello Sonata is a late work that he wrote for with the bass of the old viola da braccio family. It had a wood and a yellow-red varnish. A characteristic is the cello, free of stage action, becomes the protagonist. discriminated against in such a way that the important his friend, with whom he gave the first performance in longer struggle than its two sisters to free itself from the lengthening of the corners and the particularly wide F King Philip sings in the great aria from Verdi’s Don The CD: Works by Hummel, Haydn and Chopin. cellist Friedrich Grützmacher in the nineteenth century his last concert in Paris on 16th February 1848. On that gamba family. In 1740 there appeared in Amsterdam a holes. Carlo in dialogue with the cello of his isolation and in his edition proposed a skilful dialogue between cello occasion the first movement, with which Chopin was treatise by Hubert Leblanc, a lawyer and music-lover While the gamba remained the instrument of erotic desires; the cello first sinks down, then rises a Johann Nepomuk Hummel (1778-1837): and piano. Here we have opted for this version. not happy, was not played. The work had a difficult from France, that throws a characteristic light on the soloists, the cello, then generally with five or six strings, little, allows a glimmer of hope to be heard, and finally Grand Sonata in A major for cello and piano, birth. ‘I throw the sonata into a corner, then take it up importance of the violoncello in that time. The work is a was reduced to strengthening the continuo in the despairs. The music expresses resignation and the cello Op. 104 again’, Chopin wrote, expressing his doubts. vigorous defence of the viola da gamba against the orchestra and in chamber music. supports the singer’s feelings. Joseph Haydn (1732-1809): In the first movement the theme is stated by the violoncello that was slowly encroaching on the former’s From the end of the seventeenth century Italy took The duet of Othello and Desdemona at the end of Johann Nepomuk Hummel was born in 1778 in what is Trio in G major for flute, cello and piano, piano and taken up gracefully by the cello. Chopin here territory. This was in fact a completely unintelligible the lead in compositions for the cello. In 1689 the first act of Verdi’s Otello is accompanied by a cello now Bratislava and died in Weimar in 1837. At present Hob. XV:15 combines all the charms of his decorative piano writing polemic, since at the time there was little literature on Domenico Gabrielli wrote a Ricercar for the cello and solo, then joined by the whole cello section; the world he is undergoing a remarkable revival, after more than with an astonishing feeling for the particular qualities of the younger instrument that was worth talking about. laid the foundation for the independent solo literature of of the two lovers is still as it should be, yet Othello 150 years in which he was virtually forgotten. His Extensive correspondence survives over Haydn’s three the cello. The three-part Scherzo of the second This was first changed by the Duport brothers, who the instrument. In the first half of the eighteenth century conjures away the revenge of Fate on the outsider, too extensive list of works is now a source of rediscovery. Flute Trios, Hob.XV:15-17 from the years 1789-1790. movement, with a Trio of melodic delicacy, leads to a ranked as the most important champions of the new Vivaldi and Tartini, among others, and, with some fortunate in his love. The son of a violinist, Hummel was exceptionally gifted The leading London music publisher Bland travelled much too short central movement: the Largo, its melody school of cello-playing both in duo sonatas, such as virtuosity, Boccherini, wrote sonatas for the cello. The At the beginning of the first act of Wagner’s Die as a child. For two years Mozart took him into his house personally to Esterháza to buy music from Haydn, who stated by the cello, is, in its conciseness, a movement of those of Beethoven, and in chamber music, as, for instrument acquired new importance in the transition to Walküre Siegmund and Sieglinde do not know that they in Vienna as a pupil, an unparallelled act of pedagogic was employed by Prince Esterházy as Kapellmeister. unforgettable beauty. The Finale with its drive and example, the classical string quartet and quintet. the classical period through composers such as Carl are twins. The eyes of the two outcasts meet and they generosity on the part of the master. Haydn made him The trios for flute (or, optionally, for violin), cello and subtlety effects a balance between the two instruments. It was about 1710 that the violoncello acquired its Stamitz, Luigi Boccherini, Georg Matthias Monn, and experience happiness for the first and last time. Here too his successor in the Esterházy musical establishment. piano were exclusively promised to the Vienna The period of composition of the work was marked classical dimensions through the Italian violin-maker particularly Joseph Haydn, who wrote solo concertos an almost recitative-like cello solo supports the He rivalled Beethoven for the position of the most publisher Artaria, but England seemed to the old by the life-threatening tuberculosis and material want Antonio Stradivari (1644 or 1648/9-1737), with a body for the cello. intimacy of the situation. important pianist in Vienna, with the verdict not composer sufficiently far away to sell the trios again that overshadowed the end of Chopin’s life. As a star length of 75-76 and a depth of 11.5 centimetres. After In the nineteenth and twentieth centuries the Agathe’s aria from Weber’s Der Freischütz is infrequently in Hummel’s favour. Chopin admired him, and to turn into cash once more the triumphant success and virtuoso of Paris salons he did well, but maintained that there were many other cellos built, as well as cantabile playing of the cello acquired growing accompanied by a pure and romantic cello that reveals Schumann, after initial declarations of respect, showed of his London stay after a tour on which he embarked in a corresponding life-style. There were neither royalties gambas, and until about 1800 instruments of a mixed importance. Generations of romantic composers made to us the unfulfilled love, hope and confidence that the his contempt for him and called him a figure from the 1790. nor systems of licensing, and in illness savings were form from both types, among other things with the use of the particular feeling of which the cello was power of evil will not triumph and love will not always past. This is typical of the injustice Hummel suffered. Haydn’s genius is unmistakable in these trios quickly exhausted. The relationship with the great love change of a straight neck into a neck at an angle. The capable, giving expression to melodic sonority and remain unfulfilled. Today he seems to us a bridge between Mozart and through his incomparable wit, humour, liveliness and of his life, the writer George Sand, was over. use of the spike first became customary in about 1860. melancholy resignation. In the chamber music of When Cavaradossi, in Puccini’s Tosca, is about to Chopin, between the Viennese classical and the high delight in modulation. The rôle of the cello in this trio is Here things came full circle: on 15th October 1849, The greatest masters of violin-making, such as Beethoven, Brahms, Fauré, Grieg, Rachmaninov, die, the cello and the clarinet, operatic instruments that romantic. not unduly demanding, but here it fulfils again the only two days before his death, Chopin was visited by his Amati, Guarneri and Stradivari, also started to make Debussy, and others, cellists could explore the whole express despair, accompany him on his last way. A Hummel wrote his Cello Sonata in 1824, when he apparently subordinate function that I have remarked on last friends, his former pupil, his beloved Delfina

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range of musical feeling. There were wonderful descending chromatic scale shows where his path is was Kapellmeister at Weimar. The work is in connection with recitative: the cello accompanies the Chamber Works for Cello concertos by Schumann, Dvorˇák, Saint-Saëns, leading. characteristic of this transition. It often seems as if one dialogue between flute and piano, showing them how to Hummel • Haydn • Chopin Shostakovich, Tchaikovsky (Rococo Variations), Continuo playing is a fascinating element in opera. is hearing a cello sonata by Mozart (nothing of the kind keep their fantasy within bounds. Brahms (Double Concerto), and Elgar, and works in Working on recitatives in Mozart’s operas with exists), mingled with passages of poignancy, while A Short History of the Cello cellos. Montagnana, Grancino, Testore and Tecchler which the cello had a concertante rôle by Richard Nikolaus Harnoncourt, a conductor with whom many elements have the force of Beethoven, and the specialised almost exclusively in the instrument. Strauss (Don Quixote) and Hindemith. collaboration was among my most decisive artistic beginning of the first movement offers a melody like a Fryderyk Chopin (1810-1849): The violoncello, meaning, in Italian, a small violone, is My instrument, on which I play in the present For me the cello has a particularly fascinating and encounters, opened a completely new dimension of particularly fine theme of Chopin. The second Sonata in G minor for cello and piano Op. 65 generally known by the shorter name of ‘cello’, and is a recording, was made by David Tecchler (1666-after important place in opera. There it embodies the direct musical expression. The specific dramatic situations movement is a Romance, that today would be said to string instrument an octave lower than the viola, its four 1743) in Rome in 1727. A master-craftsman from expression of the human soul in music. With its range it that drive the plot forward are found in the recitatives. have hit quality: the principal theme resembles the 1971 Chopin too was one of the greatest virtuoso pianists of strings tuned C-G-d-a. Its structure and form correspond Salzburg, he first went to Venice, where he experienced has an almost physical affinity with the human and Each individual note has its importance, with notes that hit-song Butterfly, my Butterfly by the Belgian Daniel his time and his compositions are almost exclusively for to those of the violin, but the neck is relatively shorter some hostility, moving in 1705 to Rome where he responds directly to it. It is the instrument that can are violent, pointed, loud, gentle, particularly Gérard, which topped the hit-parade for months. This the piano. It is through his friendship with the famous and the sides deeper. The bow is somewhat shorter, but reached the height of his profession, considered the express the deepest feelings of love and death. beautifully played, slow, fast or without vibrato. As a shows how a composer of this ability can survive after cellist Auguste Franchomme (1808-1884) that he wrote stronger than that used for the violin. most important maker there. His splendidly made Unique in all opera is the cello solo in Die Frau continuo player one is a part of the musical dramatic one and a half centuries of oblivion. In the third three of his four chamber-music works for cello and As the violin may correspond to the discant, and the instruments are marked by their great fullness of tone. ohne Schatten by Richard Strauss, my favourite solo: situation. movement the internationally celebrated virtuoso piano. viola to the tenor, so the cello was originally identical He generally preferred very large models, using special the curtain falls, while the scene is changed, and the pianist comes to the fore: here the cello part is The Cello Sonata is a late work that he wrote for with the bass of the old viola da braccio family. It had a wood and a yellow-red varnish. A characteristic is the cello, free of stage action, becomes the protagonist. discriminated against in such a way that the important his friend, with whom he gave the first performance in longer struggle than its two sisters to free itself from the lengthening of the corners and the particularly wide F King Philip sings in the great aria from Verdi’s Don The CD: Works by Hummel, Haydn and Chopin. cellist Friedrich Grützmacher in the nineteenth century his last concert in Paris on 16th February 1848. On that gamba family. In 1740 there appeared in Amsterdam a holes. Carlo in dialogue with the cello of his isolation and in his edition proposed a skilful dialogue between cello occasion the first movement, with which Chopin was treatise by Hubert Leblanc, a lawyer and music-lover While the gamba remained the instrument of erotic desires; the cello first sinks down, then rises a Johann Nepomuk Hummel (1778-1837): and piano. Here we have opted for this version. not happy, was not played. The work had a difficult from France, that throws a characteristic light on the soloists, the cello, then generally with five or six strings, little, allows a glimmer of hope to be heard, and finally Grand Sonata in A major for cello and piano, birth. ‘I throw the sonata into a corner, then take it up importance of the violoncello in that time. The work is a was reduced to strengthening the continuo in the despairs. The music expresses resignation and the cello Op. 104 again’, Chopin wrote, expressing his doubts. vigorous defence of the viola da gamba against the orchestra and in chamber music. supports the singer’s feelings. Joseph Haydn (1732-1809): In the first movement the theme is stated by the violoncello that was slowly encroaching on the former’s From the end of the seventeenth century Italy took The duet of Othello and Desdemona at the end of Johann Nepomuk Hummel was born in 1778 in what is Trio in G major for flute, cello and piano, piano and taken up gracefully by the cello. Chopin here territory. This was in fact a completely unintelligible the lead in compositions for the cello. In 1689 the first act of Verdi’s Otello is accompanied by a cello now Bratislava and died in Weimar in 1837. At present Hob. XV:15 combines all the charms of his decorative piano writing polemic, since at the time there was little literature on Domenico Gabrielli wrote a Ricercar for the cello and solo, then joined by the whole cello section; the world he is undergoing a remarkable revival, after more than with an astonishing feeling for the particular qualities of the younger instrument that was worth talking about. laid the foundation for the independent solo literature of of the two lovers is still as it should be, yet Othello 150 years in which he was virtually forgotten. His Extensive correspondence survives over Haydn’s three the cello. The three-part Scherzo of the second This was first changed by the Duport brothers, who the instrument. In the first half of the eighteenth century conjures away the revenge of Fate on the outsider, too extensive list of works is now a source of rediscovery. Flute Trios, Hob.XV:15-17 from the years 1789-1790. movement, with a Trio of melodic delicacy, leads to a ranked as the most important champions of the new Vivaldi and Tartini, among others, and, with some fortunate in his love. The son of a violinist, Hummel was exceptionally gifted The leading London music publisher Bland travelled much too short central movement: the Largo, its melody school of cello-playing both in duo sonatas, such as virtuosity, Boccherini, wrote sonatas for the cello. The At the beginning of the first act of Wagner’s Die as a child. For two years Mozart took him into his house personally to Esterháza to buy music from Haydn, who stated by the cello, is, in its conciseness, a movement of those of Beethoven, and in chamber music, as, for instrument acquired new importance in the transition to Walküre Siegmund and Sieglinde do not know that they in Vienna as a pupil, an unparallelled act of pedagogic was employed by Prince Esterházy as Kapellmeister. unforgettable beauty. The Finale with its drive and example, the classical string quartet and quintet. the classical period through composers such as Carl are twins. The eyes of the two outcasts meet and they generosity on the part of the master. Haydn made him The trios for flute (or, optionally, for violin), cello and subtlety effects a balance between the two instruments. It was about 1710 that the violoncello acquired its Stamitz, Luigi Boccherini, Georg Matthias Monn, and experience happiness for the first and last time. Here too his successor in the Esterházy musical establishment. piano were exclusively promised to the Vienna The period of composition of the work was marked classical dimensions through the Italian violin-maker particularly Joseph Haydn, who wrote solo concertos an almost recitative-like cello solo supports the He rivalled Beethoven for the position of the most publisher Artaria, but England seemed to the old by the life-threatening tuberculosis and material want Antonio Stradivari (1644 or 1648/9-1737), with a body for the cello. intimacy of the situation. important pianist in Vienna, with the verdict not composer sufficiently far away to sell the trios again that overshadowed the end of Chopin’s life. As a star length of 75-76 and a depth of 11.5 centimetres. After In the nineteenth and twentieth centuries the Agathe’s aria from Weber’s Der Freischütz is infrequently in Hummel’s favour. Chopin admired him, and to turn into cash once more the triumphant success and virtuoso of Paris salons he did well, but maintained that there were many other cellos built, as well as cantabile playing of the cello acquired growing accompanied by a pure and romantic cello that reveals Schumann, after initial declarations of respect, showed of his London stay after a tour on which he embarked in a corresponding life-style. There were neither royalties gambas, and until about 1800 instruments of a mixed importance. Generations of romantic composers made to us the unfulfilled love, hope and confidence that the his contempt for him and called him a figure from the 1790. nor systems of licensing, and in illness savings were form from both types, among other things with the use of the particular feeling of which the cello was power of evil will not triumph and love will not always past. This is typical of the injustice Hummel suffered. Haydn’s genius is unmistakable in these trios quickly exhausted. The relationship with the great love change of a straight neck into a neck at an angle. The capable, giving expression to melodic sonority and remain unfulfilled. Today he seems to us a bridge between Mozart and through his incomparable wit, humour, liveliness and of his life, the writer George Sand, was over. use of the spike first became customary in about 1860. melancholy resignation. In the chamber music of When Cavaradossi, in Puccini’s Tosca, is about to Chopin, between the Viennese classical and the high delight in modulation. The rôle of the cello in this trio is Here things came full circle: on 15th October 1849, The greatest masters of violin-making, such as Beethoven, Brahms, Fauré, Grieg, Rachmaninov, die, the cello and the clarinet, operatic instruments that romantic. not unduly demanding, but here it fulfils again the only two days before his death, Chopin was visited by his Amati, Guarneri and Stradivari, also started to make Debussy, and others, cellists could explore the whole express despair, accompany him on his last way. A Hummel wrote his Cello Sonata in 1824, when he apparently subordinate function that I have remarked on last friends, his former pupil, his beloved Delfina

8.557708 2 3 8.557708 4 8.557708 557708 bk VPCello US 4/01/2005 03:36pm Page 5

Potocka, Princess Marcelina Czartoryska, a gifted bearers of the coffin, performing this last service for Monika Guca DDD pianist, and Franchomme. Princess Czartoryska and Chopin. PHILHARMONIC SOLOISTS • CELLO Franchomme began to play the G minor sonata, until a The flautist Monika Guca was born in Lower Austria and had lessons in recorder and flute from the age of eight. 8.557708 fit of coughing from the sick man brought the concert to Franz Bartolomey From 2000 she studied with Professor Gisler-Haase at the Vienna University for Music and Performing Arts and in an end. A few days later Franchomme was one of the English Version: Keith Anderson 2004 embarked on an exchange year with Profesor Greiss-Armin at the Karlsruhe Musikhochschule. She won first prize in the Prima la Musica Competition in 1999, 2001 and 2003, and the Special Prize of Musica Juventutis in 2004. She has a scholarship from the Herbert von Karajan Centre, and since 2003 has been a member of the Yehudi THE ART OF THE CELLO Menuhin Foundation’s Live Music Now. In 2000 she founded the Novacella Trio of two flutes and a cello. She has Franz Bartolomey appeared in concerts at the Vienna Konzerthaus and the RadioKulturhaus, and has toured with the Young Vienna Philharmonic. Haydn • Chopin • Hummel The cellist Franz Bartolomey was born in Vienna in 1946 and had his first lessons, from the age of six, with Ewald Winkler. He studied at the Vienna Academy of Music and Performing Arts with Richard Krotschak and privately with Emanuel Brabec. In 1963 he won the Casals Medal in Budapest, and in 1966 the Tchaikovsky Diploma in Franz Bartolomey, Cello • Madoka Inui, Piano Moscow, with triumph in Vienna in 1976. He has served as principal cellist with the Vienna Philharmonic since Monika Guca, Flute 1973. Franz Bartolomey is a third-generation member of the orchestra. His grandfather was principal clarinet and his father a violinist. Since 1997 he has been a member of the Vienna Hofmusikkapelle, and is a member of a number of chamber-music groups, including the Vienna Soloists Ensemble and the Vienna Virtuosi. He has appeared as a soloist under the conductors Leonard Bernstein, James Levine, Daniel Barenboim, André Previn, Roger Norrington and Simon Rattle, among others, in Philharmonic subscription concerts, the Salzburg Festival, the Vienna Festival Weeks, Vienna Modern, Carinthian Summer and the Salzburg Mozart Weeks. He has appeared as a soloist with Claudio Abbado’s Lucerne Festival Orchestra, and in chamber music with André Previn, Simon Rattle, Donald Runnicles, Oleg Maisenberg, Helmut Deutsch, Ernst Kovacic, Tzimon Barto, Stephan Vladar, Boris Pergamenschikov, Igor Oistrakh, Christian Altenburger, Pierre Amoyal, Gil Shaham, Sylvia McNair, Barbara Bonney, Kathleen Battle, and Jessye Norman. He has given master-courses at the Attergau International Orchestral Institute and the Sapporo Pacific Music Festival, and played for many television transmissions and recordings as a soloist and in chamber music, including a recording of Richard Strauss’s Don Quixote with the Vienna Philharmonic under André Previn, and Cello Sonatas by Brahms and Richard Strauss with Madoka Inui. He plays Madoka Inui Monika Guca a cello by David Tecchler, made in Rome in 1727. Madoka Inui The sponsors of the Philharmonic Soloists series The pianist Madoka Inui was born in Kobe and had her first piano training in Tokyo. She studied at the Vienna Conservatory with Dianko Iliew and Roland Batik and was awarded her diploma unanimously with distinction. She The Herbert von Karajan Centre was opened in November 1995 and has established itself, in the spirit of the name won first prize in the Città di Stresa international piano competition and has appeared as a soloist in Austria, Japan of its patron, as a meeting and development centre for young artists and as a forum for artistic activities. Following and Spain. Since 1997 she has concentrated chiefly on chamber music, working with members of the Vienna the many and varied interests of the conductor, the concept is structured under three main headings: development Philharmonic such as Franz Bartolomey, Clemens Hellsberg, Peter Schmidl and Volkhard Steude. She broadcasts of the younger generation, events and service. Since its foundation awards have been made to singers, conductors for Austrian radio and has appeared in concerts and gala performances with artists such as Luc Bondy, Gérard and instrumentalists. The archive administers Herbert von Karajan’s legacy, and special film production continues Mortier, Gert Voss, Ioan Holender, Peter Ruzicka, Neil Shicoff, Thomas Hampson, Ferruccio Furlanetto and Leo his tradition. Nucci. She has participated in matinées and soirées with Salman Rushdie, Umberto Eco, Antonio Lobo Antunes and Donna Leon. With the Vienna Philharmonic principal cellist Franz Bartolomey she has recorded music for The Radio Culture House of Austrian Radio (ORF) in Vienna was opened in 1997 and has established an annual cello and piano by Johannes Brahms, Johann Strauss and Richard Strauss. She is a contract artist of Bösendorfer in programme of more than 450 events ranging over a wide variety of genres for the public with cultural interests, Vienna, and plays here on a Bösendorfer instrument. where classical appears together with the avant-garde, pop and cabaret. This cultural mix is characteristic of the www.madokamusic.com programming philosophy of the Radio Culture House. 8.557708 5 6 8.557708 557708 bk VPCello US 4/01/2005 03:36pm Page 5

Potocka, Princess Marcelina Czartoryska, a gifted bearers of the coffin, performing this last service for Monika Guca DDD pianist, and Franchomme. Princess Czartoryska and Chopin. PHILHARMONIC SOLOISTS • CELLO Franchomme began to play the G minor sonata, until a The flautist Monika Guca was born in Lower Austria and had lessons in recorder and flute from the age of eight. 8.557708 fit of coughing from the sick man brought the concert to Franz Bartolomey From 2000 she studied with Professor Gisler-Haase at the Vienna University for Music and Performing Arts and in an end. A few days later Franchomme was one of the English Version: Keith Anderson 2004 embarked on an exchange year with Profesor Greiss-Armin at the Karlsruhe Musikhochschule. She won first prize in the Prima la Musica Competition in 1999, 2001 and 2003, and the Special Prize of Musica Juventutis in 2004. She has a scholarship from the Herbert von Karajan Centre, and since 2003 has been a member of the Yehudi THE ART OF THE CELLO Menuhin Foundation’s Live Music Now. In 2000 she founded the Novacella Trio of two flutes and a cello. She has Franz Bartolomey appeared in concerts at the Vienna Konzerthaus and the RadioKulturhaus, and has toured with the Young Vienna Philharmonic. Haydn • Chopin • Hummel The cellist Franz Bartolomey was born in Vienna in 1946 and had his first lessons, from the age of six, with Ewald Winkler. He studied at the Vienna Academy of Music and Performing Arts with Richard Krotschak and privately with Emanuel Brabec. In 1963 he won the Casals Medal in Budapest, and in 1966 the Tchaikovsky Diploma in Franz Bartolomey, Cello • Madoka Inui, Piano Moscow, with triumph in Vienna in 1976. He has served as principal cellist with the Vienna Philharmonic since Monika Guca, Flute 1973. Franz Bartolomey is a third-generation member of the orchestra. His grandfather was principal clarinet and his father a violinist. Since 1997 he has been a member of the Vienna Hofmusikkapelle, and is a member of a number of chamber-music groups, including the Vienna Soloists Ensemble and the Vienna Virtuosi. He has appeared as a soloist under the conductors Leonard Bernstein, James Levine, Daniel Barenboim, André Previn, Roger Norrington and Simon Rattle, among others, in Philharmonic subscription concerts, the Salzburg Festival, the Vienna Festival Weeks, Vienna Modern, Carinthian Summer and the Salzburg Mozart Weeks. He has appeared as a soloist with Claudio Abbado’s Lucerne Festival Orchestra, and in chamber music with André Previn, Simon Rattle, Donald Runnicles, Oleg Maisenberg, Helmut Deutsch, Ernst Kovacic, Tzimon Barto, Stephan Vladar, Boris Pergamenschikov, Igor Oistrakh, Christian Altenburger, Pierre Amoyal, Gil Shaham, Sylvia McNair, Barbara Bonney, Kathleen Battle, and Jessye Norman. He has given master-courses at the Attergau International Orchestral Institute and the Sapporo Pacific Music Festival, and played for many television transmissions and recordings as a soloist and in chamber music, including a recording of Richard Strauss’s Don Quixote with the Vienna Philharmonic under André Previn, and Cello Sonatas by Brahms and Richard Strauss with Madoka Inui. He plays Madoka Inui Monika Guca a cello by David Tecchler, made in Rome in 1727. Madoka Inui The sponsors of the Philharmonic Soloists series The pianist Madoka Inui was born in Kobe and had her first piano training in Tokyo. She studied at the Vienna Conservatory with Dianko Iliew and Roland Batik and was awarded her diploma unanimously with distinction. She The Herbert von Karajan Centre was opened in November 1995 and has established itself, in the spirit of the name won first prize in the Città di Stresa international piano competition and has appeared as a soloist in Austria, Japan of its patron, as a meeting and development centre for young artists and as a forum for artistic activities. Following and Spain. Since 1997 she has concentrated chiefly on chamber music, working with members of the Vienna the many and varied interests of the conductor, the concept is structured under three main headings: development Philharmonic such as Franz Bartolomey, Clemens Hellsberg, Peter Schmidl and Volkhard Steude. She broadcasts of the younger generation, events and service. Since its foundation awards have been made to singers, conductors for Austrian radio and has appeared in concerts and gala performances with artists such as Luc Bondy, Gérard and instrumentalists. The archive administers Herbert von Karajan’s legacy, and special film production continues Mortier, Gert Voss, Ioan Holender, Peter Ruzicka, Neil Shicoff, Thomas Hampson, Ferruccio Furlanetto and Leo his tradition. Nucci. She has participated in matinées and soirées with Salman Rushdie, Umberto Eco, Antonio Lobo Antunes and Donna Leon. With the Vienna Philharmonic principal cellist Franz Bartolomey she has recorded music for The Radio Culture House of Austrian Radio (ORF) in Vienna was opened in 1997 and has established an annual cello and piano by Johannes Brahms, Johann Strauss and Richard Strauss. She is a contract artist of Bösendorfer in programme of more than 450 events ranging over a wide variety of genres for the public with cultural interests, Vienna, and plays here on a Bösendorfer instrument. where classical appears together with the avant-garde, pop and cabaret. This cultural mix is characteristic of the www.madokamusic.com programming philosophy of the Radio Culture House. 8.557708 5 6 8.557708 557708 rr VPCello US 10/01/2005 09:24am Page 1

CMYK N AXOS A master of the cello reveals the secrets of his instrument and the famous Vienna sound. Franz Bartolomey has been principal cellist with the Vienna Philharmonic since 1973 and has appeared as a soloist with famous conductors such as Leonard Bernstein, James Levine, Daniel Barenboim, Simon Rattle, André Previn and Roger Norrington. He also enjoys a successful career in chamber music. In 8.557708 the booklet he writes about the history, function, character and legends of his instrument. This is the DDD fourth release in a series that features leading players of the Vienna Philharmonic Orchestra in chamber music. 8.557708

Playing Time THE ART OF THE CELLO 69:48 T

Johann Nepomuk HUMMEL (1778-1837): HE Grand Sonata in A major for Cello and Piano, Op. 104 21:20 1 Allegro amabile e grazioso 10:24 A RT ELLO 2 Romanza: Un poco adagio e con espressione 5:12 C 3 Rondo: Allegro, un poco vivace 5:44 O F HE Joseph HAYDN (1732-1809): T T Trio in G major for Flute, Cello and Piano, Hob. XV:15 * 18:49 HE F 4 Allegro 9:16

O 5 Andante 4:38 www.naxos.com Made in Canada Booklet notes in English h 6 Finale: Allegro moderato 4:55 C & ELLO RT g

A Fryderyk CHOPIN (1810-1849): Sonata in G minor for Cello and Piano, Op. 65 29:37 2005 Naxos Rights International Ltd.

HE 7 Allegro moderato 14:29

T 8 Scherzo: Allegro con brio 4:46 9 Largo 4:09 0 Finale: Allegro 6:16 Franz Bartolomey, Cello • Madoka Inui, Piano Monika Guca, Flute * Recorded at Studio 2, ORF Funkhaus, Vienna, 6th-9th October 2004 Producer: Alfred Treiber, ORF • Recording Supervisor: Erich Hofmann 8.557708 Sound engineer: Josef Schütz • Editor: Otmar Bergsmann Music Notes: Franz Bartolomey • A detailed tracklist can be found in the booklet A co-production with ORF and The Herbert von Karajan Centrum

AXOS Cover Photo: Franz Bartolomey and Madoka Inui by Martin Vukovits N