T e u n Teunis van der Zwart, natural hor n* i s v a n Claron McFadden, soprano [aria ] d Erwin Wieringa, natural hor n* [duos, 15-18 ] e r Z w Marc Destrubé, violin [02-04, 15-18 ] a r Staas Swierstra, violin [15-18 ] & viola [02-04 ] t | P Emilio Moreno, viola [02-04, 15-18 ] h o t Albert Brüggen, cello [02-04 ] o © Robert Franenberg, double bass [15-18 ] A n n e l Orchestra of the Eighteenth Century i e s v a Frans Brüggen n d e r * natural horns built by “Courtois neveu aîné”, Paris c.1800 V e g t 5 Recorded in Brescia (Teatro Grande, Horn Concerto ), in Veenendaal (Studio van Schuppen, chamber music) and in Madrid ( orcam , Aria ) in June 2006, November 2007 and July 2008 Engineered and produced by Studio van Schuppen ( Jochem Geene, Gustavo Zarba & Sieuwert Verster) Recording supervision: Maarten van der Valk Executive producers: Sieuwert Verster (The Grand Tour / Orchestra of the Eighteenth Century) & Carlos Céster (Glossa Music / MusiContact) Editorial direction: Carlos Céster Editorial assistance: María Díaz, Mark Wiggins Design: Valentín Iglesias © 2009 MusiContact GmbH Wolfgang Amadeus Mozart (1756-1791) Music for Horn from: 12 Duos for 2 horns, kv 487 (496a) Horn Concerto in E flat, kv 447 01 No. 8, Allegro 1:28 10 (Allegro) 6:56 11 Romance (Larghetto) 4:03 Quintet in E flat for horn, violin, 2 violas and bass, kv 407 (386c) 12 Allegro 3:53 02 Allegro 6:29 03 Andante 5:23 from: 12 Duos for 2 horns, kv 487 (496a) 04 Rondo (Allegro) 3:56 13 No. 9, Menuetto 2:00 14 No. 5, Larghetto 1:21 from: 12 Duos for 2 horns, kv 487 (496a) 05 No. 7, Adagio 2:14 Ein musikalischer Spass for 2 violins, viola, bass and 2 horns, kv 522 06 No. 2, Menuetto (Allegretto) 2:13 15 Allegro 3:39 16 Menuetto (Maestoso) 6:12 from: Mitridate, re di Ponto, kv 87 (74a) 17 Adagio cantabile 5:27 07 Aria “Lungi da te” 8:28 18 Presto 4:37 from: 12 Duos for 2 horns, kv 487 (496a) from: 12 Duos for 2 horns, kv 487 (496a) 08 No. 3, Andante 2:21 19 No. 4, Polonaise 1:00 09 No. 12, Allegro 1:37 4 5 orchestral players (concerto) orchestral players (aria) First Violin Cello First Violin Cello Rémy Baudet (concertmaster) Richte van der Meer Marc Destrubé (concertmaster) Richte van der Meer Hans Christian Euler Albert Brüggen Rémy Baudet Emmanuel Balssa Lorna Glover Lidewij Scheifes Lorna Glover Albert Brüggen Kees Koelmans Rainer Zipperling Kees Koelmans Lidewij Scheifes Irmgard Schaller Franc Polman Rainer Zipperling Sayuri Yamagata Bass Irmgard Schaller Annelies van der Vegt Anthony Woodrow Annelies van der Vegt Bass Margaret Urquhart Natsumi Wakamatsu Margaret Urquhart Second Violin Robert Franenberg Staas Swierstra Clarinet Second Violin Anthony Martin Eric Hoeprich Staas Swierstra Flute Guya Martinini Óscar Argüelles Anthony Martin Konrad Hünteler Marinette Troost Guya Martinini Ricardo Kanji Dirk Vermeulen Bassoon Troels Svendsen Richard Walz Danny Bond Marinette Troost Horn Gustavo Zarba Donna Agrell Dirk Vermeulen Stefan Blonk Sayuri Yamagata Anneke Scott Viola Gustavo Zarba Erwin Wieringa Emilio Moreno Ruth Hesseling Viola Oscar Hoogland Emilio Moreno Else Krieg Marten Boeken Antonio Clares Esther van der Eijk Else Krieg Yoshiko Morita 6 7 English F r a about the music n s B r For anyone who delves into the solo repertoire for ü g horn in Mozart’s oeuvre, the figure of Joseph Leutgeb g e will inevitably come into view. Was this horn player, n | already legendary in his time, a buffoon, a nonentity P h o who had to put up with Mozart’s badgering in t o © Wolfgang Amadeus Mozart exchange for some horn music? Or was he a good- A natured older friend and inspiration? Leutgeb was, in n n e Music for Horn any case, a great musician and a true hero on the horn. l i e s Born in Vienna in 1732, Leutgeb, from 1750 on, v a n established his name and his reputation as a travel - d e ling horn virtuoso. Between 1761 and the beginning r about the natural horn V e of 1763, he appeared at least fourteen times as soloist g t In Mozart’s time, the horn was still a natural instru - in the Wiener Burgtheater, performing horn concer - ment, without valves, similar to a hunting horn. By tos by, among others, Michael Haydn, Leopold varying the lip pressure while blowing into the instru - Hofmann, and Karl Ditters von Dittersdorf. It could ment, the natural horn player can produce a succes - very well be that Joseph Haydn composed his Horn sion of notes, the natural tone series, which consists of Concerto in D , Hob .vii d:3 for Leutgeb. The two a ground tone and its natural overtones. Intermediate musicians did in fact know each other and apparent - tones are produced by a technique called hand-stop - ly were on friendly terms; Haydn and his wife were ping, in which the player cups the right hand, insert - the godparents of the horn player’s daughter. In ing it partially, or completely, into the bell. The result - February of 1763, Leutgeb began a musical appoint - ing muffled and growling sounds are characteristic of ment in Prince Esterhazy’s court, where Haydn had the natural horn. By interchanging a detachable piece, already been second chapel master for a number of a “crook”, to the horn, the player changes the length years. Despite the superior salary and performance of the instrument and, thus, the ground tone with its level of the orchestra, Leutgeb relinquished his posi - corresponding natural overtones. The proportions, tion within the first month. He left for Salzburg, to however, remain the same, so that the hand-stopped become a horn player in the prince-archbishop’s notes in the new key will be at the same places in the Hofkapelle. Michael Haydn and Leopold Mozart were musical scale. among his new colleagues. He also made acquain - 8 9 English English tance of the latter’s son, a seven-year-old child prodi - Lungi da te, mio bene, Vienna. Leopold Mozart wrote to his son that he had loved pulling pranks on his older friend. In the man - gy with whom there apparently was an immediate se vuoi, sh’io porti il piede, loaned Leutgeb money to allow him to buy a small uscript of the Horn Concerto in E flat major , kv 417, bond. On August 20, 1763, during a family trip, non rammentar le pene, hut (“a snail’s shell”) with a cheesemonger’s shop. from 1783, Mozart writes: “ Wolfgang Amadé Mozart hat Leopold Mozart compiled a list of the persons che provi, o cara, in te. From 1781 on, Mozart lived in Vienna as well, sich über den Leitgeb [sic] Esel, Ochs, und Nar, erbarmt ” Wolfgang said he missed; Leutgeb was one of them. and the two men met regularly. In that year, Leutgeb (Wolfgang Amadeus Mozart has taken pity on the On November 14, 1769, young Mozart was [If you desire, dearest, was precisely twice the age of Mozart, but that did ass, ox, and fool Leutgeb). For the Horn Concerto in E appointed third concertmaster, albeit unsalaried, of that I remove myself from you, not keep the latter from vigorously poking fun at the flat major , kv 495 composed in 1786, Mozart used the archbishop’s Hofkapelle. As such, he was steeped then do not remember the pain horn player. Leutgeb could probably take some four different colours of ink. On the one hand, this in the sounds produced at the Salzburg court and by you feel, my darling.] knocks and took the banter and practical jokes in seems to be a joke, or a sort of puzzle for Leutgeb; on Leutgeb’s horn. Perhaps that contributed to his inspi - stride. In any case, they spent many an evening in the other hand, it is not inconceivable that composer ration when, far from home, he composed the obbli - Parto, mia bella, addio, each other’s company. and horn player discussed such an experiment over a gato horn part of the aria Lungi da te . This took place che se con te più resto, At Leutgeb’s request, Mozart composed solo glass of wine, especially since the coloured ink rears in Milan in 1770, where he composed the opera ogni dovere obblio, pieces for horn, starting with the Horn Quintet , kv its head a number of times in the orchestral parts. Mitridate, re di Ponto, a commission from Count Carlo mi scordo ancor di me. 407, in 1782. Leutgeb was perhaps at the height of his The Duets , kv 487, also date from 1786, and a di Firmian, and where he was confronted for the first ability at this time. The horn part from the quintet selection of them can be heard on this cd . “ Untern time in his life with the notions and whims of famous [I take leave, farewell, my beauty, is the most virtuosic horn music Mozart ever wrote, kegelscheiben ” (sic) (while playing nine-pins) adorns opera divas. The tenor D’Ettore, for instance, was for if I stay with you any longer, and demands the utmost proficiency in hand-stop - the score in Mozart’s handwriting. Mozart did not content only with the fifth version of the Cavata I will forget my obligations, ping. The accompanying string quartet in kv 407 specify the instruments for which he wrote these from Mitridate, Se di lauri il crine adorno. Happily, and myself.] consists, conspicuously enough, of one violin, two sparkling miniatures, but for every natural horn play - Mozart had a better understanding with Pietro violas, and a cello; with the presence of two violas, er, it is clear that the horn had to have been the Benedetti, nicknamed Sartorino , who sang the role of In the meantime Leutgeb was also indefatigably con - the ensemble acquires a darker timbre than with intended instrument, however extreme both voices Sifare.