WOLFGANG AMADEUS MOZART Music for Horn
Orchestra of the Eighteenth Century Frans Brüggen
Orchestra of the Eighteenth CenturyFrans Brüggen
Teunis van der Zwart, natural horn
Claron McFadden, soprano Erwin Wieringa, natural horn Marc Destrubé, violin Staas Swierstra, violin & viola Emilio Moreno, viola Albert Brüggen, celloRobert Franenberg, double bass
Recorded in Brescia, Veenendaal and Madrid between June 2006 and July 2008Engineered by Studio van SchuppenExecutive producers: Sieuwert Verster & Carlos CésterDesign: Valentín IglesiasBooklet essay: Teunis van der ZwartEnglish Français Nederlands Deutsch Español
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WOLFGANG AMADEUS MOZART
Music for Horn
Horn Concerto in E flat, KV 447Aria “Lungi da te”, from Mitridate, re di Ponto, KV 87Quintet in E flat for horn, violin, 2 violas and bass, KV 407Ein musikalischer Spass for 2 violins, viola, bass and 2 horns, KV 522Horn Duos from KV 487
About this CD
Of the various wind instruments, it was the natural horn which proved to be the one most favoured by Mozart in his solo instrumental music. Four concertos and a plentiful quantity of chamber scores in which the horn plays the leading role testify to that. Without doubt all this derived from the friendship between the composer and Joseph Leutgeb, a virtuoso player almost 25 years his senior, and who, on a number of occasions, ended up as the target for well-meaning jokes and taunts from Mozart, as is explained in the booklet to this disc.
Teunis van der Zwart is one of the world’s leading specialists on his instrument today, and here he is joined by other members from the Orchestra of the Eighteenth Century for the chamber music (the Quintet, A Musical Joke, the duos), and by the full orchestra conducted by Frans Brüggen for the Horn Concerto, KV 477 and for an aria from Mitridate, re di Ponto, which also features the starry vocal talents of North American soprano Claron McFadden. In recordings made between 2006 and 2008 Brüggen and the musicians of his now legendary ensemble once more prove themselves to be on magnificent form in creating a further disc of reference.
How has the orchestra’s approach to the Beethoven symphonies evolved over the years?
This is a discussion that is very much alive in the orchestra: when we first started, we had no repertoire. So, with every piece that we were approaching we had to work and to discuss, in the old-fashioned way. For years we worked like this, never doing more than one Beethoven symphony in a year – and then we played it over and over again. So, it took us twelve years before we completed the cycle with the Ninth. If you play such pieces again after so many years, things start to change: tempi have changed and whereas we had always been arrogant about all those conductors, who after a certain period of time, decided to rerecord pieces, we – the orchestra members and me personally – now think that it is a good idea to do it again. [read more...]