1 LP - SAWT 9627-A - (p) 1974
1 CD - 8.41272 ZK - (c) 1984

Wolfgang Amadeus Mozart (1756-1791)

Konzert für Horn und Orchester Nr. 3 Es-dur, KV 447

15' 07" A1
- Allegro *
7' 27"

- Romanze. Larghetto 4' 18"

- Allegro 3' 30"

Konzert für Horn und Orchester Nr. 2 Es-dur, KV 417
13' 21" A2
- Allegro maestoso 6' 31"

- Andante 3' 22"

- Rondo 3' 28"

Konzert für Horn und Orchester Nr. 1 D-dur, KV 412 & 514 (386 b)
8' 48" B1
- (Allegro) 4' 50"

- Allegro (KV 514) 3' 57"

Konzert für Horn und Orchester Nr. 4 Es-dur, KV 495
16' 14" B2
- Allegro moderato *
8' 31"

- Romanza. Andante
4' 01"

- Rondo. allegro vivace
3' 38"

Hermann Baumann, Naturhorn und Kadenzen *

CONCENTUS MUSICUS WIEN (mit Originainstrumenten)

- Alice Harnoncourt, Violine - Peter Waite, Viola
- Lars Fryden, Violine - Nikolaus Harnoncourt, Violoncello
- Peter Schoberwalter, Violine - Eduard Hruza, Violone
- Wilhelm Mergl, Violine - Jürg Schaeftlein, Oboe
- Erwin Spuller, Violine - Paul Hailperin, Oboe
- Walter Pfeiffer, Violine - Wolfgang Rühm, Klarinette
- Josef de Sordi, Violine - Gerhard Totzauer, Klarinette
- Ferdinand Svatek, Violine - Othmar Berger, Horn
- Peter Katt, Violine - Hermann Rohrer, Horn
- Kurt Weidenholzer, Violine - Milan Turkovic, Fagott
- Kurt Theiner, Viola - Otto Flesichmann, Fagott

Nikolaus Harnoncourt, Leitung
Luogo e data di registrazione
Bayerischer Hof, Vienna (Austria) - novembre e dicembre 1973
Registrazione live / studio
Producer / Engineer
Prima Edizione CD
Teldec "Das Alte Werk" - 8.41272 ZK - (1 cd) - 53' 30" - (c) 1984 - AAD
Prima Edizione LP
Telefunken "Das Alte Werk" - SAWT 9627-A - (1 lp) - 53' 30" - (p) 1974

Mozart’s horn concertos were composed for what is today practically an unknown instrument: the natural horn which, as opposed to the modern chromatic French horn (valve horn), has no valve mechanism. The player has to produce the halfnotes, which do not exist in the natural tone range, by muting (i.e., pressing the hand or fist into the bell). The “muted” tones of the natural horn are more colourful, the open ones far more sonorous than is the case with modern valved instruments. While Mozart demands the utmost of the interpreter with this performing technique, he nevertheless at the same time opens up a wealth of new possibilities of expression. In addition to bravura, in addition to joyful hunting horn themes (final rondi), Mozart also frequently underlines with particular affection the other characteristic side of the horn: the gentle cantabile which, with its manifold range of colours, results in veritable miracles of melody.
Mozart’s horn concertos are occasional works, almost all of them (excepting perhaps No. 3 KV 447) being composed for Joseph - not Ignaz - Leutgeb (1732-1811). Leutgeb or Leitgeb, as Mozart writes) was one of the oldest friends of the Mozart family; in 1763 he was employed at the Salzburg court orchestra as French hornist. In 1777 he moved to Vienna, where he settled down as a cheese dealer. Ten years later, as French hornist with Prince Grassalkovich, he was accepted as a member of the Musicians Society. He appears to have been constantly urging Mozart to write new compositions for him; Mozart for his part was in the habit of treating him as a kind of house jester. We have to thank this strange friendly relationship for some of the most beautiful works that were ever composed for the horn.

Wolfgang Plath
English translation by Frederick A. Bishop

Nikolaus Harnoncourt (1929-2016)
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