570419bk Mozart:570034bk Hasse 26/6/07 10:07 AM Page 4 Amadeus Chamber Orchestra of Polish Radio Amadeus Chamber Orchestra of Polish Radio was founded in 1968 by conductor Agnieszka Duczmal and originally appeared under the auspices of “Jeunesses Musicales” and Pozna´n Music Society. Aside from an active international MOZART touring schedule, the Orchestra regularly takes part in recordings for Polish Radio with repertoire ranging from Baroque to Horn Concertos Nos. 1-4 contemporary music (they have already recorded over 7500 minutes of music for Polish Radio). The Orchestra also works with radio broadcasters abroad, including NDR, Jacek Muzyk, Horn WDR and SFD in Germany; BBC in London; CBC in Montréal. For Polish Amadeus Chamber Orchestra of Polish Radio Television, they have made 110 programmes and concert broadcasts, and for French TV1, Agnieszka Duczmal Photo: Miroslaw Bocek more than five hours of recorded music. Agnieszka Duczmal Agnieszka Duczmal studied conducting with Prof. Witold Krzemi´nski at the State Higher School of Music in Pozna´n, graduating with honours. In 1968, while still a student, she formed a chamber orchestra which in 1977 became the Polish Radio and Television Chamber Orchestra, and the Amadeus Chamber Orchestra of the Polish Radio in 1988. Duczmal has been Managing and Artistic Director since the orchestra’s inception. In 1976, Duczmal and the Amadeus Chamber Orchestra of the Polish Radio won the Herbert von Karajan Silver Medal at the International Meeting of Young Orchestras in West Berlin. In 1982, she received the “La Donna del Mondo” (“Woman of the World”) award from Saint Vincent International Centre of Culture in Rome, granted under the auspices of UNESCO and the Italian President for outstanding achievements in the fields of culture, science and social activity. Duczmal was also the first female conductor to perform in Milan’s La Scala. Together with Amadeus Chamber Orchestra of the Polish Radio, Duczmal has given concerts across Europe, America and Asia, in the world’s most prestigious concert halls such as the Gewandhaus in Leipzig, Berlin Philharmonic, Musikverein in Vienna, Queen Elizabeth Hall in London, the Tchaikovsky Hall in Moscow, Concertgebouw in Amsterdam, Konserthuset in Stockholm, Beethovenhalle in Bonn, the Munich Philharmonic, the Petersburg Philharmonic, La Scala and the Milanese Conservatory, Palais des Congrès in Strasbourg, Pollack Hall in Montréal, Teatro Real in Madrid, Orchard Hall in Tokyo, Tokyo Opera Concert Hall, the Royal C Theatre in Brussels, Tivoli in Copenhagen, the National Philharmonic in Warsaw, the Philharmonic in Cologne, and the M Santa Cecilia Conservatory in Rome. Distinguished soloists with whom they have collaborated include Piotr Anderszewski, Martha Argerich, Igor Oistrakh, Vadim Repin, Henryk Szeryng, Y Steven Isserlis, Mischa Maisky, Gary Karr, Michela Petri, Christian Lindberg, Maurice André, among others. Photo: Piotr Jasiczek K 8.570419 4 570419bk Mozart:570034bk Hasse 26/6/07 10:07 AM Page 2 Wolfgang Amadeus Mozart (1756–1791) 1783, and a dedication to ‘Leitgeb (the Salzburg spelling of orchestra of pairs of clarinets, bassoons and horns, with Horn Concertos the horn-player’s name), Esel, Ochs und Narr’ (Leutgeb, strings, and follows the now customary form, making even Ass, Ox and Idiot). It is scored for an orchestra of two greater demands on the virtuosity of the soloist and ending Born in Salzburg in 1756, the son of a leading court musi- with the actor-manager Emanuel Schikaneder he was busy oboes, two horns and strings. The first movement opens in characteristic style in the final rondo. cian, Wolfgang Amadeus Mozart, through the indulgence of with a new German opera, Die Zauberflöte (The Magic with the usual orchestral exposition, its two themes followed In the index of his composition that Mozart had begun his father Leopold’s employer, the Archbishop of Salzburg, Flute), to be mounted in the autumn, while Prague had by the entry of the soloist, with material of his own. The to compile in Vienna the third completed concerto, Horn was able to amaze audiences throughout Europe as an infant commissioned from him a coronation opera, La clemenza di short development adds a feeling of greater intensity before Concerto No.4 in E flat major, K.495, is dated 26th June, prodigy. Adolescence and early manhood proved less Tito (The Clemency of Titus), a work staged there in the return of the earlier material. The slow movement, of 1786, and described as ‘Ein Waldhorn Konzert für den satisfactory. Salzburg, under a new Archbishop from 1772, September, to the expressed contempt of the new Emperor’s which the original autograph has been lost, makes very little Leitgeb’. The surviving pages of the autograph are written seemed to have little to offer, although it did provide an wife. He had undertaken to compose a Requiem, but this use of the other wind instruments, which appear only at the in different coloured inks - red, green, blue and black - a fact element of security for the family. Leopold Mozart, now was to remain unfinished at his sudden death in December beginning and end of the movement, and to mark the that some have chosen to see as a joke and others, no doubt Vice-Kapellmeister, had largely sacrificed his own career as 1791, to be completed eventually by his pupil Franz Xaver conclusion of the first section. They return in the final rightly, as a code giving an indication of the dynamics. The a composer to that of his son, but prudence kept him in Süssmayr. hunting rondo, with its characteristically ebullient principal final Rondo is written only in red and black, but the slow Salzburg. Mozart, however, first tried to seek his fortune Mozart’s Horn Concertos belong to the final period of theme. movement makes use of all four colours. The work is scored elsewhere in 1777, when, having secured his dismissal from his life and were written for the Salzburg horn-player Ignaz The second completed concerto, Horn Concerto No.3 for pairs of oboes and horns with strings. the court musical establishment, he travelled to Mannheim Leutgeb, a musician who had doubled as a violinist in the in E flat major, K.447, has been convincingly dated to 1787, and to Paris, hoping to find a position that would provide Salzburg orchestra, but had appeared in Paris as a horn although some prefer an earlier date. It is scored for an Keith Anderson scope for his genius. Unsuccessful in his quest, he returned soloist in concertos of his own composition, when he reluctantly to Salzburg, where his father had arranged his demonstrated the new technique of hand-stopped notes, the reinstatement in the service of the Archbishop. It was changing of pitch by the insertion of the right hand into the largely through connections made at Mannheim that he bell of the instrument. Leutgeb had moved to Vienna in Jacek Muzyk received a request for an opera to be mounted in Munich, 1777, when he had acquired a cheese-shop in the suburbs, Jacek Muzyk was born and raised in Poland. He began playing piano at the age of seven. Although he became a where the Elector now had his seat. Idomeneo, re di Creta according to Leopold Mozart, who had lent him money for proficient jazz pianist by his late teens, he began to study French horn intensively at the age of eighteen. After (Idomeneus, King of Crete) was successful there early in the purpose, the size of a snail’s shell. Four years later he graduation from the Academy of Music in Krakow, where Krzysztof Penderecki served as rector, he completed 1781, but immediately afterwards Mozart was told to join had still not repaid the loan, as we learn from one of another masters degree with a full scholarship at the Mannes College the entourage of the Archbishop of Salzburg in Vienna. Mozart’s letters to his father. Mozart remained on the of Music in New York studying with a famous soloist, David Jolley. Here his impatience and feeling of frustration led to a break friendliest terms with him, in his own wife’s absence relying Jacek Muzyk received further education at the famous Juilliard School with his patron and a final period of precarious on Frau Leutgeb to launder his cravat for him, and playing of Music, also with a full scholarship; he then continued studying at independence in Vienna, without the security of Salzburg or various jokes on his friend. Something of their relationship Rice University in Houston (TX) with William VerMeulen. Following the immediate prudent advice of his father. At first things can be gathered from the remarks that Mozart included in his studies he returned to Poland, working full time with the best seemed to go well. Without seeking his father’s approval, the autograph of the unfinished D major Rondo, and Allegro Polish orchestras: Sinfonia Varsovia, the National Philharmonic of he married one of the dowerless daughters of a jobbing in which the horn part is marked Adagio and which Warsaw, the Krakow Philharmonic among others. In 1999 he was Mannheim musician, but made a name for himself as a continues with abusive remarks directed at the performer. chosen as Principal Horn for Krystian Zimerman's Polish Festival composer and performer. Nevertheless his earnings never Leutgeb retired from playing in 1792 and died in 1811. Orchestra, a select group of Poland's finest musicians, which toured seemed commensurate with his expenses, so that by the end Examination of the paper used by Mozart for the Europe and the United States playing over forty performances of of the decade he found himself constantly obliged to borrow unfinished Rondo in D major, K.412, makes it clear that the Chopin's concertos, while winning a Grammy Award.