Mozart’s Oboe & The Hunt
THE HAYDN ALBUM DEBUT RECORDING WITH ABC CLASSICS
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Recorded by acclaimed Tonmeister Virginia Read, The Haydn Album represents the very latest research into performance practice at the time of the music’s composition. The disc champions three of the finest works by the eighteenth-century composer Joseph Haydn including Cello Concerto in C major, Harpsichord Concerto in D major and Symphony ‘Le matin’ (‘Morning’).
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Mozart’s Oboe & The Hunt JANITSCH
Oboe Quartet in G minor HAYDN
String Quartet ‘La Chasse’’ Op. 1 No. 1 in B-Flat major MOZART
String Quartet ‘The Hunt’ K. 458 in B-Flat major MOZART
Oboe Quartet K. 370 in F major
Armidale
Thursday 20 July, 7:00pm
TAS Hoskins Centre
Newcastle
Saturday 22 July, 7:00pm
Newcastle Conservatorium of Music
Canberra
Thursday 10 August, 7:00pm
The Great Hall - University House, ANU
Berry
Friday 11 August, 7:00pm
Berry Uniting Church
Sydney
Sunday 13 August, 2:30pm
The Utzon Room, Sydney Opera House
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The Ensemble The Australian Haydn Ensemble (AHE) was formed in late 2011 and launched its first subscription season in 2012. The Ensemble has rapidly claimed a place among Australia’s finest orchestras and chamber music groups. Specialising in the music of the classical era, they perform on historical instruments under the leadership of Artistic Director, Skye McIntosh.
AHE has built a reputation for its vivacious performances, which are faithful to the sound-worlds that would have been familiar to Haydn and his contemporaries. AHE have recently released their chart topping debut ABC Classics album, performed at the Melbourne festival, throughout Australia and toured to America. They present five tours annually and include regional performances and education projects at the core of their activities.
Formed from a group of dedicated musicians with national and international experience, 4
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VIOLIN I
CELLO
Skye McIntosh
Anthony Albrecht
LEADER & ARTISTIC DIRECTOR (JOSEF PANORMO, 1800, LONDON)
(WALMSLEY, 1740, LONDON)
VIOLIN II
Simone Slattery (CLAUDE PIERRAY, 1726, PARIS) VIOLA
James Eccles (UNKNOWN, 1739, TYROLEAN)
SYDNEY MORNING HERALD
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OBOE
Amy Power (ALFREDO BERNARDINI, AMSTERDAM, 2010, AFTER GRUNDMANN & FLOTH, DRESDEN, 1795)
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Artistic Director's Message Performing chamber music is always a delight, especially well-loved works such as the two Mozart quartets we present in this program - his Oboe Quartet and his String Quartet No. 17 K. 458 nicknamed ‘The Hunt’ . In this program we explore three composers who contributed significantly to the development of the chamber music genre. Haydn and Mozart are key names, but Janitsch is infrequently heard in concert performances today. He was one of the first composers to popularise the quartet. It is interesting to consider his influence and the interplay of the instrumental voices when listening to his music, in contrast to Mozart’s Oboe Quartet which was written some 40 years later. I am sure you will agree Janitsch is a composer deserving greater renown than he is usually afforded in the 21st century. Exploring the theme of the hunt through the string quartets of Haydn and Mozart gives this program its rustic richness. Mozart paid homage to Haydn’s genius for quartet composition by dedicating a set of quartets to him, of which ‘The Hunt’ is the fourth. I cannot help but wonder if he speaks directly to Haydn in the opening bars of this work, using an inverted theme. I hope that you enjoy the performance of these works…
Skye McIntosh ARTISTIC DIRECTOR & VIOLIN
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About The Music peace at night.
JOHANN GOTTLIEB JANITSCH (1708 – 1763)
Quartet: Sonata di Camera in G Minor
When Frederick the Great ascended the throne the Kapelle moved to Berlin and Janitsch's position as contraviolinist was transferred to the newly founded CAPTION Berlin Court Orchestra. He also transferred the Friday Academies there to continue their activities.
I. Largo II. Allegretto III. Adagio: O Haupt voll Blut und Wunden IV. Vivace Janitsch was a Polish composer, violinist and double-bass player, who spent much of his life working in the service of the Prussian court. He received his first music lessons in his hometown of Silesia (today Świdnica, Poland). In 1729 he travelled to Frankfurt an der Oder to study law where he also received his first commissions to write large scale musical works for festive occasions. Eventually, in 1736, he abandoned his law studies for music when he was offered a position in Frederick’s Kapelle as contraviolinist at Ruppin and Rheinsber.
Janitsch's music is very much in the galant style yet reflects the darker emotional sentiments of the Empfindsamer Stil style of music, popular in the first half of the 18th century and designed to move the listener to melancholy. Thomas Fritsch said of his compositional work: “Neither the contemporary musical life of Berlin nor the development of the quartet form as the preferred chamber music genre is imaginable without his work.” Some of Janitsch's works were published during his lifetime, but most of his surviving output still only exists in manuscript form. The largest body of Janitsch's works was thought to have been destroyed during World War II until it was rediscovered in the Kiev Conservatory in 2000.
Although not widely known today, Janitsch was an influential figure in 18th century Prussian musical life. In 1738 he formed the first musical academy called the "Freitagsakademien" (Friday Academies) in Rheinsberg. The group was open to both professional and amateur musicians who met every Friday at his house to play chamber music. Janitsch had a small organ installed to play at the gatherings which he played it frequently (not just on Fridays!), much to the displeasure of his neighbours who threatened to report him to the king for disturbing the 8
Janitsch wrote two quartets in memory of his deceased son - one in C minor, and the one we perform in G minor. The slow movement is based on the Chorale Haupt voll Blut und Wunden (‘O Sacred Head, now wounded’), a medieval poem translated by Paul Gerhardt (1607-1667) into the popular German hymn.
believed to have been written between 1752 and 1760, possibly for Baron von Fürnberg who asked Haydn to compose a work for four string players (including Haydn) for a party at his castle. It is significant that Haydn did not initially call the works ‘string quartets’. He labeled the works in his manuscripts as "notturni" and listed them in his thematic catalog initially as "cassatio" and later as "divertimenti a quarto." The beautiful slow movement of the quartet we present provides a small glimpse into of the depth JOSEPH HAYDN (1732-1809) of complexity he would eventually weave into his scores. This quartet, contains five movements, including two menuettos between the opening presto in 6/8 and the adagio, and before the closing presto. The opening of the work features bright rhythms like a fanfare that conjure the essence of a hunting horn or hunting music. Haydn then follows this with a gentle minuet and trio. The central and more substantial adagio movement weaves a singing melody over the accompaniment of repeated chords. The second menuetto has a more lively character and a greater rhythmic drive, with the quartet voices interacting as call and response. The finale is an energetic presto displaying lots of Haydn’s favourite tricks including melodic ‘chops and changes’ as well as jokingly unpredictable phrases of uneven lengths.
The English translation of the text reads: O sacred Head, now wounded, with grief and shame weighed down, Now scornfully surrounded with thorns, Thine only crown; O sacred Head, what glory, what bliss till now was Thine! Yet, though despised and gory, I joy to call Thee mine. Be Thou my consolation, my shield when I must die; Remind me of Thy passion when my last hour draws nigh. Mine eyes shall then behold Thee, upon Thy cross shall dwell, My heart by faith enfolds Thee. Who dieth thus dies well.
JOSEPH HAYDN (1732-1809)
String Quartet Op. 1 No. 1 ‘The Hunt’ in B-flat major ‘La Chasse’ I. II. III. IV. V.
Presto Menuetto and Trio Adagio Menuetto and Trio Presto
Joseph Haydn’s string quartet output was prolific. This quartet was part of his first opus, before ‘the string quartet’ form as we know it was developed to its maturity. As was common at the time, his quartets were published as a set, usually of six. Opus 1 is 9
program are in the key of B-flat major, which the German composer Christian Schubart described as expressing “cheerful love, clear conscience, hope, and aspiration for a better world”.
WOLFGANG AMADEUS MOZART (1756-1791)
String Quartet No. 17 K. 458 ‘The Hunt’ I. II. III. IV.
Allegro vivace assai Menuetto and Trio. Moderato Adagio Allegro assai
WOLFGANG AMADEUS MOZART (1756-1791)
Quartet for Oboe and Strings K. 370/368b in F major
Mozart held ‘Papa’ Haydn in the highest regard. So deep was this admiration that he dedicated a set of six string quartets to him, and completed them in 1784 around the time he also wrote The Marriage of Figaro. In the same year Mozart was invited to join the Masonic lodge, and several years later he introduced Haydn to the masons.
I. Allegro II. Adagio III. Rondeau: Allegro The Oboe Quartet in F major K. 370/368b was written by Mozart in early 1781. It is thought to have been written for Friedrich Ramm, a virtuoso oboist in the Munich orchestra. They had met previously but Mozart would have come into contact with him again when he was in Munich visiting Elector Karl Theodor, who had commissioned the opera Idomeneo for a carnival celebration. Mozart’s quartet would have been a delight for Ramm, enabling him to demonstrate his virtuosity on the difficult instrument and showcase the improvements that had been made to the instrument’s design around that time. The piece uses the high F above the staff, a note rarely played in any repertoire previously written for the oboe.
We perform the 4th quartet - No. 17 in B-flat major, K. 458, nicknamed ‘The Hunt’. As is often the case with nicknamed pieces, neither the composer nor the publisher (Artaria) called it this. It is likely that it gained its nickname from its lively first movement that reflects the typical ‘La Chasse’ (Hunt) characteristics. These include the use of a 6/8 time signature as well as melodies based primarily around tonic and WOLFGANG AMADEUS MOZART (1756-1791) dominant chords that would have been possible on hunting horns. The opening rhythmic figure of the quartet is not dissimilar to the opening of Haydn’s quartet which leads us to wonder if Mozart was perhaps ‘quoting’ him in this work. The quartet features a beautiful slow movement which, unusually, is played after the minuets. Both ‘Hunt’ quartets from this
Although this quartet is a chamber work, it in fact features the oboe as a soloist with string accompaniment. This is not to say that it is uninteresting or innocuous for the other players as the galant style requires fine, sensitive ensemble playing, and is on a par with Mozart’s fine flute quartets.
PROGRAM NOTES BY ANTHONY ALBRECHT
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Beethoven's Emperor MOZART
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Overture to the Magic Flute K. 620
Symphony No. 38 K. 504 ‘Prague’ in D Major
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Canberra
Thursday 12 October, 7:00pm
The Great Hall - University House, ANU
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The Utzon Room, Sydney Opera House
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The Utzon Room, Sydney Opera House
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