 |
1 CD -
Teldec 8.41272 XH (c) 1989
|
 |
| 1 LP -
Telefunken SAWT 9627-A (p) 1974 |
|
| NIKOLAUS HARNONCOURT - 25 Years
on TELDEC |
|
|
|
|
|
|
|
| Wolfgang Amadeus
Mozart (1756-1791) |
Die vier
Hornkonzerte |
|
|
|
|
|
|
|
|
|
Konzert
für Horn und Orchester Nr. 3
Es-dur, KV 447 |
|
15' 15" |
|
|
-
Allegro *
|
7' 27" |
|
A1 |
|
- Romanze ·
Larghetto |
4' 18" |
|
A2 |
|
-
Allegro |
3' 30" |
|
A3 |
|
Konzert
für Horn und Orchester Nr. 2
Es-dur, KV 417 |
|
13' 21" |
|
|
-
Allegro maestoso
|
6' 31" |
|
A4 |
|
-
Andante
|
3' 22" |
|
A5 |
|
-
Rondo |
3' 28" |
|
A6 |
|
Konzert
für Horn und Orchester Nr.
1 D-dur, KV 412 & 514
(386b) |
|
8' 47" |
|
|
-
(Allegro) (KV 412) |
4' 50" |
|
B1 |
|
-
Allegro (KV 514) |
3' 57" |
|
B2 |
|
Konzert
für Horn und Orchester Nr. 2
Es-dur, KV 417 |
|
16' 10" |
|
|
-
Allegro moderato * |
8' 31" |
|
B3 |
|
-
Romanza · Andante |
4' 01" |
|
B4 |
|
-
Rondo · Allegro vivace |
3' 38" |
|
B5 |
|
|
|
|
|
| Hermann
BAUMANN, Naturhorn
& Kadenzen * |
|
| CONCENTUS MUSICUS
WIEN (mit Originainstrumenten) |
|
| - Alice Harnoncourt,
Lars Fryden, Peter Schoberwalter,
Wilhelm Mergl, Erwin Spuller, Walter
Pfeiffer, Josef de Sordi, Ferdinand
Svatek, Peter Katt, Kurt
Weidenholzer, Violinen |
|
| - Kurt Theiner,
Peter Waite, Violen |
|
| - Nikolaus
Harnoncourt, Violoncello |
|
- Eduard Hruza, Violone
|
|
| - Jürg Schaeftlein,
Paul Hailperin, Oboen |
|
| - Wolfgang Rühm,
Gerhard Totzauer, Klarinetten |
|
| - Othmar Berger,
Hermann Rohrer, Hörner |
|
| - Milan Turković,
Otto Fleischmann, Fagotte |
|
| Nikolaus
HARNONCOURT, Leitung |
|
|
|
|
|
Luogo
e data di registrazione |
|
Bayerischer
Hof, Vienna (Austria) - novembre e
dicembre 1973 |
|
|
Registrazione:
live / studio |
|
studio |
|
|
Producer
|
|
- |
|
|
Edizione CD |
|
TELDEC
- 8.41272 XH (242 757-2) - (1 CD -
durata 53' 30") - (c) 1989 - AAD |
|
|
Originale LP
|
|
TELEFUNKEN
- SAWT 9627-A - (1 LP - durata 53'
30") - (p) 1974 - Analogico |
|
|
Note |
|
-
|
|
|
|
|
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)
|
|
