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DDD MOZART 8.557011 Flute Concertos Nos. 1 and 2 Concerto for Flute and Harp Patrick Gallois, Flute/Director • Fabrice Pierre, Harp Swedish Chamber Orchestra 557011bk Mozart US 25/11/2003 1:15 pm Page 2

Wolfgang Mozart (1756-1791) Flute Concertos Nos. 1 and 2 • Concerto for Flute and Harp The two flute concertos and the concerto Mozart wrote for dismay of his father. In 1777, however, this still lay ahead. flute and harp were the direct result of his attempt to Mannheim had manifold musical attractions, but no escape from the restrictions of his native , with its position for Mozart. Nevertheless he lingered there limited musical opportunities. As a child prodigy he had through the winter, and through his friendship with the amazed Europe, and an indulgent patron, the then flautist Wendling made the acquaintance of a Dutchman, Archbishop of Salzburg, had allowed , whose name appears variously as De Jean and “M. de Vice- at Salzburg, freedom to travel with champs” in Mozart’s letters to his anxious father. De Jean his two children in concert tours that took the family away had been an army doctor in Münster and in 1758, at the for years at a time. The succession of a new archbishop in age of 27, had travelled to Batavia where he was 1772 brought an end to this freedom, while Mozart and employed as a surgeon by the East India Company. It is his father constantly strove to find some position for the for this reason that Mozart refers to him in his letters as young composer that would bring much greater “our Indian”. De Jean had wide interests and a wide circle distinction. It was this ambition, fostered by Leopold of friends, including the doctor who was to attend Mozart Mozart, that led his son in 1777 to resign his position in on his death-bed in 1791. More to our purpose, he was an Salzburg and seek his fortune elsewhere. The archbishop, amateur flautist and a man of means, and commissioned indeed, was willing to see both Mozarts leave his service, from Mozart three little, easy, short flute concertos and a but this Leopold Mozart could not afford. He remained at couple of flute quartets, for which he promised the sum of his post in Salzburg, while his son set out, accompanied 200 florins. by his mother, on a journey that was to take him to The promised fee was to be a recurrent topic in letters , Augsburg, Mannheim and finally Paris. exchanged between Mozart and his father during the Travelling in their own chaise, Mozart and his mother following weeks, Mozart had no particular love of the set out on 23rd September, 1777. They spent seventeen flute and showed a certain indolence in fulfilling his days in Munich, where the Elector had nothing to offer, obligation to De Jean, a man canny enough not to pay in followed by a fortnight in Leopold Mozart’s native city of advance for the music he had ordered. By February, Augsburg. On 30th October they reached Mannheim, the however, Mozart had written the two flute concertos we then seat of the Elector Carl Theodor, who kept an now have and three quartets, for which De Jean had given orchestra that had won international fame. Mannheim had half the money. In a letter written during his return other attractions for Mozart. lt was here that he met for the journey from Paris on 3rd October of the following year first time the family and embarked on a flirtation we hear again that De Jean will pay later, a financial with the sixteen-year-old Aloysia Weber, a young singer arrangement that must have confirmed Leopold Mozart’s with whom, to his father’s alarm, he planned a concert worst doubts of his son’s business acumen. tour of Italy. The connection with the Webers was to Whatever reservations Mozart may have expressed continue, as Frau Weber, after the death of her husband, about the flute itself, his compositions for the instrument uncle of the composer and copyist are works of characteristically rich melodic invention and at Mannheim, moved with her daughters to Vienna, in equally characteristic clarity of form and texture, allowing search of suitable husbands for them. Mozart was to be those for whom they were written a share in the jilted by Aloysia, for whom Frau Weber found a immortality of their composer. The two flute concertos materially more advantageous match, but he was are scored for the usual orchestra with pairs of oboes and eventually to marry Constanze, a dowerless younger horns, strings and a possible doubling of the bass line by daughter, to the expressed surprise of the Emperor and the a bassoon. The second of the pair, the Concerto in D 8.557011 2 557011bk Mozart US 25/11/2003 1:15 pm Page 3

major, K314, seems to have been a transcription for flute concertos, one for flute and one for harp, she wrote, soon of an oboe concerto in C major written for the Salzburg after their arrival, and her son was also employed to teach oboist Ferlendis in the spring or summer of 1777, before composition to the duke’s daughter. The concerto written Mozart set out on his optimistic journey. The work was for the Duc de Guines, an amateur flautist, and his harpist performed in Mannheim by the oboist Friedrich Ramm, daughter, was the delightful Concerto in C major for flute whose playing Mozart admired. In a letter home to his and harp, K. 299, scored for the usual instrumental forces. father he describes the concerto as Ramm’s cheval de Mozart, who had been enthusiastic about the performing bataille and tells how he had played it for the fifth time in abilities of the duke and his daughter on first the house of the Mannheim Kapellmeister Cannabich. It acquaintance, had, by July, become less satisfied. The was presumably through the imminent departure of De duke had had the concerto for four months, he wrote to his Jean for Paris that Mozart decided to fulfil his commission father, and had still not paid, and furthermore was with an arrangement of an existing work, which, it may be counting two hours of attendance as one. The result was supposed, De Jean had already heard in its original further practical advice from Leopold Mozart on the art of version. collecting money from slow patrons without causing Mozart and his mother set out for Paris on 14th offence, an art that Mozart was slow to learn. March, 1778, and reached the French capital nine days later. As a child Mozart had caused a sensation in Paris, as a young man, and a “stupid German” at that, he was far Keith Anderson less interesting. Towards the end of June his mother fell ill, and on 3rd July she died. Her earlier letters to her * For the present recording a reverse baroque position is husband in Salzburg had seemed naively hopeful. used (i.e. the second violins are placed on the left, Wolfgang had been commissioned by a duke to write two opposite the first violins on the right of the ensemble.)

Patrick Gallois Patrick Gallois belongs to the generation of French musicians leading highly successful international careers as both soloist and conductor. From the age of seventeen he studied the flute with Jean-Pierre Rampal at the Paris Conservatoire and at the age of 21 was appointed principal flute in the Orchestre National de France, under Lorin Maazel, playing under many famous conductors, including Leonard Bernstein, Seiji Ozawa, Pierre Boulez, Karl Boehm, Eugen Jochum, and Sergiu Celibidache. He held this post until 1984, when he decided to focus on his solo career, which has subsequently taken him throughout the world. He regularly performs and records with leading conductors and collaborates in chamber music with musicians such as Yuri Bashmet, Natalia Gutman, Peter Schreier, Jorg Demus, the Lindsay Quartet and formerly with Jean-Pierre Rampal and Lily Laskine. He has been invited to appear as a soloist with major orchestras in Europe and in Asia, and in leading international festivals, with tours to Germany, Japan and Israel, and annual master-classes at the Academia Chigiana in Siena and the Banff Centre for the Arts in Canada. For twelve years after establishing his own orchestra in Paris, the Académie de Paris, Patrick Gallois has developed a conducting career which has taken him to Japan, Scandinavia, Italy, Portugal, the United States and Bulgaria, in addition to appearances as a conductor in France. Both as a conductor and as a flautist he has a wide repertoire, with a strong taste for contemporary music, and many new works have been dedicated to him. His recordings include an award- winning series for DGG. For Naxos he has recorded the complete flute concertos of C.P.E.Bach. 3 8.557011 557011bk Mozart US 25/11/2003 1:15 pm Page 4

Fabrice Pierre The harpist and conductor, Fabrice Pierre was a pupil of Pierre Jamet for the harp and Paul Ethuin and Franco Ferrara for orchestral conducting. In 1980, Pierre Boulez offered him the position of assistant conductor at the Ensemble Intercontemporain and, in 1984, he was unanimously awarded the First Prize at the Marie-Antoinette Cazala International Harp Competition at Gargilesse in France. During the same year he was appointed harp professor at the Conservatoire National Supérieur de Musique de Lyon, where he is also, since 1997 musical director of l’Atelier du XXème Siècle. Fabrice Pierre pursues an international career as harpist and conductor, giving concerts and masterclasses at major Festivals (Kuhmo, Gubbio, Prades, Kitakyushu, Musicades of Lyon, Music Today in Tokyo, among others) and promoting present-day composers’ new works. As a chamber musician, he plays frequently with Patrick Gallois, Pierre-Henri Xuereb, and Annick Roussin, and he has recorded for Calliope, DGG, EMI, Forlane and 3D works by Caplet, Debussy, Doppler, Fauré, Louvier, Ravel, and Talemitsu. Swedish Chamber Orchestra The Swedish Chamber Orchestra, based in the city of Örebro, is the only full-time Scandinavian chamber orchestra. The Örebro Concert Hall, on the Black River in the historic centre of Örebro, is the orchestra’s home. From this base it gives over a hundred performances a year divided between subscription concerts and tours, national and international. The rapid development of the Swedish Chamber Orchestra, attracting attention from leading international conductors and soloists, has focused on intensive recording and increasingly on touring. In 1996 the orchestra toured Europe with Barbara Hendricks and Eric Ericson’s Chamber Choir, appearing in 1997 in Spain and Norway, and in 1998 in Germany, Norway and the Kennedy Centre in Washington DC, followed by a tour in 2001 to Germany. Collaboration with the Scottish Chamber Orchestra has established a composer-in-residency for a Swedish composer, Karin Rehnqvist, and a British composer, Sally Beamish. The Swedish Chamber Orchestra has made critically acclaimed recordings for labels such as BIS, Hyperion, Simax and Naxos. Its earlier recording of Kraus symphonies for Naxos was named record of the month in Diapason and was awarded the Cannes Classical Awards prize for best recording of eighteenth century music in 1998. The Principal Conductor of the orchestra since 1997 has been Thomas Dausgaard. Katarina Andreasson Katarina Andreasson is one of the leading Swedish violinists and concertmasters. She began her studies at the Royal Academy of Music in Copenhagen and then continued studying in Stockholm, Canada, New York and Prague. By the age of 22 she was already first concertmaster of the Aalborg Symphony Orchestra in Denmark, and in 1995 became first concertmaster at the Gothenburg Opera. Since 1997 she has served as first concertmaster of the Swedish Chamber Orchestra, a position that has seen her also as a director of the ensemble, notably as director and soloist in Peteris Vask’s Violin Concerto. She is at present widening her musical ability by studying conducting with Jorma Panula in Helsinki. As a soloist Katarina Andreasson made her international début in London in 1997, when she performed Howard Blake’s Violin Concerto “The Leeds” at the Royal Festival Hall with the Philharmonia, to critical acclaim. As a chamber musician she has performed around the world and as a guest concertmaster she is in demand. From 1996 to 2001 she taught the violin at the Music College in Gothenburg. She is also a member of the popular Swedish string group Ladies Only, who released their first CD with Naxos in 2001, chosen as CD of the month in November of the same year.

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Wolfgang Amadeus Mozart (1756-1791) Concertos pour flûte nos 1 et 2 • Concerto pour flûte et harpe Les deux concertos pour flûte et le concerto que Mozart sans dot, suscitant la surprise de l’empereur et la écrivit pour flûte et harpe résultèrent directement de sa consternation de son père. Toutefois, en 1777, tout cela tentative de dépasser les limites de sa ville natale, était encore à venir. Mannheim possédait de nombreux Salzbourg, où l’avenir d’un musicien était assez attraits pour un musicien, mais Mozart n’y trouva restreint. Enfant, il avait ébloui l’Europe, et un pourtant aucun emploi. Il y prolongea toutefois son employeur indulgent, le précédent archevêque de séjour pendant tout l’hiver, et grâce à son amitié avec le Salzbourg, avait permis à Leopold Mozart, son vice- flûtiste Wendling, il fit la connaissance d’un Hollandais Kapellmeister, d’effectuer avec ses deux enfants des dont le nom apparaît orthographié de deux façons tournées de concerts qui se prolongèrent parfois différentes, De Jean et « M. de champs », dans les pendant plusieurs années. L’arrivée d’un nouvel lettres écrites par Mozart à son père pour le rassurer. De archevêque en 1772 sonna le glas de cette liberté, et Jean avait été médecin militaire à Münster et en 1758, à Mozart et son père se mirent à chercher sans relâche vingt-sept ans, il s’était rendu en pays batave où il avait quelque position plus avantageuse pour le jeune été chirurgien pour la Compagnie des Indes orientales. compositeur. C’est cette ambition, nourrie par Leopold C’est pour cette raison que Mozart parle de lui dans ses Mozart, qui poussa son fils à démissionner en 1777 lettres en disant “notre Indien”. De Jean s’intéressait à pour aller chercher fortune ailleurs. De fait, tout et avait de nombreux amis, dont le médecin qui l’archevêque était disposé à voir les deux Mozart quitter devait assister Mozart sur son lit de mort en 1791. Il son service, mais Leopold Mozart ne pouvait pas se le était surtout flûtiste amateur et comme il était aisé, il permettre. Il demeura à Salzburg, tandis que son fils, commanda à Mozart trois petits concertos pour flûte accompagné de sa mère, entreprenait un voyage qui faciles et brefs ainsi que deux quatuors pour flûte, pour devait le mener à Munich, Augsbourg, Mannheim et lesquels il s’engagea à payer la somme de 200 florins. enfin Paris. Cette rémunération promise devait revenir souvent Voyageant dans leur propre voiture, Mozart et sa dans la correspondance entre Mozart et son père durant mère partirent le 23 septembre 1777. Ils passèrent dix- les semaines qui suivirent ; en effet, Mozart sept jours à Munich, où l’électeur n’avait rien à leur n’appréciait pas particulièrement la flûte et faisait proposer, puis quinze jours à Augsbourg, la ville natale preuve d’une certaine indolence, tardant à satisfaire la de Leopold. Le 30 octobre, ils parvinrent à Mannheim, demande de De Jean, qui était suffisamment avisé pour où régnait alors l’électeur Carl Theodor, dont ne pas payer à l’avance la musique qu’il commandait. l’orchestre s’était forgé une renommée internationale. Mais quand vint février, Mozart avait écrit les deux Mannheim eut d’autres attraits pour Mozart. C’est là concertos pour flûte que nous connaissons aujourd’hui, qu’il fit la connaissance de la famille Weber et s’éprit et trois quatuors, pour lesquels De Jean avait payé la d’Aloysia Weber, jeune cantatrice de seize ans avec moitié de la somme convenue. Dans une lettre écrite qui, à la grande inquiétude de Leopold, il projeta une alors qu’il rentrait de Paris le 3 octobre de l’année tournée de concerts en Italie. Sa relation avec les Weber suivante, il est dit une fois de plus que De Jean payera devait se poursuivre, car Frau Weber, après la mort de plus tard, arrangement financier qui dut confirmer à son mari, l’oncle du compositeur Carl Maria von Weber Leopold Mozart que comme il le craignait, son fils et copiste à Mannheim, se fixa avec ses filles à Vienne, n’avait pas le sens des affaires. cherchant à leur trouver de bons partis. Mozart, rejeté Quelles qu’aient été les réserves de Mozart au sujet par Aloysia à qui Frau Weber avait trouvé un époux de la flûte, ses compositions pour cet instrument font plus solvable, allait finir par épouser Constanze, cadette preuve de l’inventivité mélodique et de la clarté de 8.557011 5 557011bk Mozart US 25/11/2003 1:15 pm Page 6

formes et de texture qui lui étaient coutumières, faisant Mozart et sa mère quittèrent Mannheim pour Paris partager à ceux pour qui elles furent écrites un peu de le 14 mars 1778, et atteignirent la capitale française l’immortalité de leur compositeur. Les deux concertos neuf jours plus tard. Enfant, Mozart avait fait sensation sont écrits pour la formation habituelle avec deux à Paris, mais devenu jeune homme et n’étant de plus hautbois et deux cors, des cordes et la possibilité de « qu’un stupide Allemand », on le trouva bien moins doubler la ligne de basse avec un basson. Le deuxième, intéressant. Vers la fin du mois de juin, sa mère tomba le Concerto en ré majeur K314, semble avoir été une malade, et le 3 juillet, elle mourut. Ses premières lettres transcription pour flûte d’un concerto pour hautbois en à son mari resté à Salzbourg débordaient d’un espoir ut majeur écrit pour le hautboïste de Salzbourg naïf. Un duc avait commandé deux concertos à Ferlendis durant le printemps ou l’été 1777, avant que Wolfgang, l’un pour flûte, l’autre pour harpe, écrivait- Mozart n’entreprenne le voyage sur lequel il fondait elle peu après leur arrivée, et son fils était également tant d’espérances. L’ouvrage fut donné à Mannheim par chargé d’enseigner la composition à la fille du duc. Le le hautboïste Friedrich Ramm, dont Mozart admirait le concerto écrit pour le Duc de Guines, flûtiste amateur, jeu. Dans une lettre à son père, il décrit le concerto et sa fille harpiste, était le délicieux Concerto en ut comme le cheval de bataille de Ramm et raconte qu’il majeur pour flûte et harpe K. 299, avec l’ensemble l’avait joué pour la cinquième fois dans la demeure de orchestral habituel. Quand vint juillet, Mozart, qui Cannabich, le Kapellmeister de Mannheim. C’est sans s’était enthousiasmé pour les talents d’interprètes du doute à cause du départ imminent de De Jean pour Paris duc et de sa fille en les rencontrant, avait un peu que Mozart décida d’honorer sa commande avec déchanté. Cela faisait quatre mois que le duc avait le l’arrangement d’une œuvre existante que De Jean avait concerto, écrivait-il à son père, il ne l’avait toujours pas sans doute déjà entendue dans sa version originale. payé et de plus il lui comptait deux fois moins d’heures Il est possible que l’Andante en ut, pour flûte, avec de travail. Leopold Mozart en profita pour prodiguer à orchestre de deux hautbois, deux cors et cordes, ait son fils de nouveaux conseils pratiques sur l’art de également été écrit à Mannheim début 1778, dans le réclamer de l’argent aux mécènes peu empressés sans cadre de la commande de De Jean, bien que certains les offenser, art que Mozart mit longtemps à maîtriser. l’aient daté de 1779 ou 1780, après le retour de Mozart à Salzbourg. Ce mouvement unique possède un charme Keith Anderson particulier, avec sa brève introduction de cordes pizzicato, mélodie récurrente et poignante. Version française : David Ylla-Somers

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CMYK N AXOS On his European tour of 1777-8, the young Mozart sought to escape the restrictions and limitations of his position in Salzburg and seek his fortune. Along the way various amateur players and rich patrons commissioned works, among them the two Flute

8.557011 Concertos and the Concerto for Flute and Harp. Although written for amateur players, these works are no less challenging for the soloists or enjoyable for the listener. They DDD include many examples of the characteristically rich melodies and daring harmonies that were later to immortalise Mozart's greatest music. 8.557011 Playing Time Wolfgang Amadeus 70:15 MOZART MOZART: (1756-1791) Flute Concerto No. 2 in D major, K314 17:53 1 Allegro aperto 6:01 2 Adagio ma non troppo 6:40

3 Rondeau: Allegro 5:12 Flute Concertos Concerto for Flute, Harp and Orchestra, K299 * 27:53 4 Allegro 10:18 Flute Concertos 5 Andantino 8:54 www.naxos.com Made in Canada Notice en français Booklet notes in English Naxos Rights International Ltd. h 6 Rondeau: Allegro 8:41 2003 & Flute Concerto No. 1 in G major, K313 24:29

7 Allegro maestoso 8:26 g

8 Adagio ma non troppo 9:05 2004

MOZART: 9 Rondo: Tempo di Menuetto 6:59 Patrick Gallois, Flute • Fabrice Pierre, Harp * • Roderick Shaw, Harpsichord Swedish Chamber Orchestra (Katarina Andreasson, Leader) Patrick Gallois, Director Cadenzas: Patrick Gallois (1-3 and 7-9) and Patrick Gallois, Fabrice Pierre and friends (4-6) 8.557011 Recorded at the Örebro Concert Hall, Sweden, 26th - 30th August 2002 Producer: Ben Turner • Engineer: Andrew Halifax • Editing: Finesplice Ltd. Booklet Notes: Keith Anderson

AXOS Cover photograph of Patrick Gallois by Taffi Rosen N