B E E T H OV E N PIANO CONCERTOS 3 & 4 DIEDRE IRONS / CHRISTCHURCH SYMPHONY / MARC TADDEI
RECORDED LIVE AT THE TOWN HALL, CHRISTCHURCH, NEW ZEALAND
BEETHOVEN PIANO CONCERTOS 3 & 4 DIEDRE IRONS CHRISTCHURCH SYMPHONY MARC TADDEI
PIANO CONCERTO NO.3 IN C MINOR, OP.37 Allegro con brio Largo 3 Rondo: Allegro 1 2
17:29 11:11 9:41
PIANO CONCERTO NO.4 IN G, OP.58 Allegro moderato Andante con moto 6 Rondo: Vivace 4 5
Total Time
20:20 5:17 10:36 74:55
MMT2051 Live Stereo Recording 2004 HRL Morrison Music Trust 2004 HRL Morrison Music Trust Rita Angus (1908-1970), Untitled (Mountain biological station, Cass), 1936, watercolour, 228 x 290mm. Collection of the University of Canterbury, Christchurch. Reproduced by permission of the Estate of the artist.
BEETHOVEN AND THE CONCERTO When Beethoven visited Vienna as a teenager in the late 1780s he had no doubts about the composer with whom he intended to study. Mozart, the greatest keyboard virtuoso of the period, was an obvious choice for Beethoven given his own formidable powers as a pianist. Mozart was evidently impressed by Beethoven’s playing but did not think it better than that of his pupil Hummel who was several years younger. It was only after Beethoven begged to be allowed to improvise on a theme of Mozart’s own devising that he was finally accepted as a pupil. In the event Beethoven did not study with Mozart. His mother fell seriously ill and he returned to Bonn in short order. By the time circumstances allowed him to return to Vienna Mozart was dead and Beethoven undertook instead to study with Haydn. Ironically, Haydn, the teacher of second choice, proved to be a far richer source of musical inspiration than Mozart. In one instrumental genre,
however, Mozart stood supreme: the concerto. Many composers had written keyboard concertos before Mozart. Among the works that exerted the greatest influence on the young Mozart were the concertos of Johann Christian Bach whom he met in London as a child. The polished, elegant style and easy Italianate lyricism of the music of Bach assumed a central place in Mozart’s musical thinking for many years, and to them, as he matured as an artist, he added intellectual complexity and technical virtuosity. In a sense there are no direct precursors to the Mozart piano concertos: other works exist, many of them attractive and well-written, but none give the barest hint of what Mozart was to achieve in the space of several concert seasons. How well these works were known outside of Vienna is difficult to assess. But one can be sure that these extraordinary works came as a revelation to Beethoven, far more so
than even the greatest symphonies and quartets of Haydn, for Beethoven too was a virtuoso and perhaps better than most could appreciate Mozart’s gigantic achievement. With Mozart dead, Beethoven sought to establish himself as quickly as possible as the foremost keyboard virtuoso in Vienna. His playing astonished and delighted the lucky few who heard it and his improvisations in particular gained him great fame. All the while he was honing his skills as a composer in preparation to assault the three great musical fortresses of Viennese classicism: the symphony, the concerto and the string quartet. The concerto provided the ideal public platform for Beethoven. It allowed him to demonstrate his prowess both as a performer and composer and fulfil Count Waldstein’s prediction that he would ‘receive Mozart’s spirit from Haydn’s hands’. Beethoven’s compositional style underwent a massive transformation during the years that separate the B flat concerto and the
‘Emperor’ and this change is reflected in the works themselves. The early works draw on Mozart’s concertos for their formal models and to an extent their musical inspiration. The fourth and fifth concertos, however, have their origins in the great Middle Period symphonies and for that reason an almost inconceivable stylistic gulf separates the early concertos from the late works. That the concertos – like the sonatas – are the music Beethoven wrote for himself makes them particularly revealing, the more so since they represent the most public face of Beethoven the performer. It is hardly surprising that no concertos followed the ‘Emperor’, even though sketches for a sixth piano concerto survive. When Beethoven came to the realisation that his deafness made it impossible for him to perform in public any longer he seems to have lost heart and abandoned the genre forever.
W. A. Sutton (1917-2000), High Noon at Cass, 1985, watercolour on paper, 384 x 517 mm. Private collection. Reproduced courtesy of Christchurch Art Gallery, Te Puna o Waiwhetu.
PIANO CONCERTO NO.3 IN C MINOR, OP.37 PIANO CONCERTO NO.4 IN G, OP.58
of vocal items as well. While heaping praise on his formidable technique as a performer and his
Like Mozart before him, Beethoven
extraordinary powers of improvisation, a
recognised that one of the surest ways of
number of Beethoven’s contemporaries
establishing a high musical profile in Vienna
clearly felt that he did not always play his
lay in performing concertos of his own
own music particularly well.
composition. These performances, at his
The scanty review of the concert in
own benefit concerts, did much to enhance
the Zeitung für die Elegante Welt had little
his reputation as a great virtuoso and, more
space to discuss the new piano concerto
significantly at the time, identified him in
but observed:
the eyes of many as the true heir to Mozart. The third piano concerto seems to have
“Less successful was the following Concerto in C minor which Hr.v.B., who is
been intended for a concert mounted by
otherwise known as an excellent pianist,
Beethoven in April 1800. The few extant
performed also not completely to the
sketches for the work are thought to date
public’s satisfaction.”
from as early as 1796-97 but the autograph
Beethoven’s first three piano concertos
score, dated 1800 by the composer, was
are clearly modelled on the great Mozart
obviously not completed in time for the
concertos of the 1780s, among the most
concert since Beethoven played the first
perfect works written in any genre. The
concerto instead.
direct inspiration for the third concerto is
The premiere of the new work – with
clearly Mozart’s own C minor concerto
Beethoven as soloist – finally took place
(K.491) completed just over a decade
on 5 April 1803 in a mammoth concert
earlier. The two works are nonetheless
which also included the first and second
fundamentally dissimilar in musical
symphonies, the whole of his new oratorio
structure and character. The fatalism
Christus am Ölberg and probably a number
which pervades much of Mozart’s work
is transformed into the sternly heroic in
reminiscent of Beethoven’s former teacher,
Beethoven.
Joseph Haydn.
The first movement opens with a strong, triadic, unison theme, which
Between the completion of the third piano concerto in 1800 and its
provides much of the thematic material for
premiere three years later, Beethoven’s
the rest of the movement. Beethoven’s
compositional style underwent a radical
development of this material, along with
transformation. Whereas in his early
his handling both of the solo part and
years in Vienna the composer’s musical
orchestra, reveals a far more experienced
thinking was dominated by the piano, it
composer than that of the first concerto.
was the symphony which influenced
Odd influences from Mozart show through,
virtually everything he wrote in the
notably in the reintroduction of the piano
period immediately following the turn of
after the cadenza, but the character of
the century. It is hardly surprising in the
the movement remains quintessentially
circumstances, that when the composer
Beethoven. The beautifully tranquil slow movement, cast in the unexpected key
of the ‘Eroica’ symphony returned to the composition of piano concertos later in the decade, he found the Mozartian model
of E major, exploits one of Beethoven’s
which had served him so well in his first
most celebrated strengths as a pianist;
three concertos inadequate to the task
the ability to play slow, sustained lyrical
of accommodating his greatly enlarged
themes. By way of contrast, the finale, a
musical vision.
lengthy sonata-rondo movement with a curiously intense, driving theme, demands
The fourth piano concerto was completed in March 1806, but Beethoven’s
great dexterity from the performer. The
preoccupation with the revision of his opera
transformation of the theme towards the
Fidelio meant that there was little time to
end of the movement provides yet another
organise a performance that season. A
link back to Mozart’s work although its
year later, Prince Lobkowitz promoted two
quirky good humour is perhaps more
concerts in his palace in Vienna dedicated
entirely to Beethoven’s music; in addition to
eloquence that only gradually reveals its
the new concerto, the first four symphonies
power.
were performed along with the overture to
The Andante con moto perhaps
Collin’s play Coriolan and several arias from
reveals best how Beethoven’s attitudes
Fidelio. The fourth piano concerto, unlike the
had changed since composing the third concerto. In place of the conventional,
third, finds its source of inspiration almost
lyrical slow movement, Beethoven writes
exclusively in Beethoven’s own works.
what amounts to a terse interlude-cum-
Nearly every element of style ranging from
preparation for the Finale in the same
rhythmic patterns to orchestral texture,
manner as in the ‘Waldstein’ sonata. The
betrays strong links with compositions
alternation of two strongly opposed musical
Beethoven was working on around the
ideas in this movement has prompted
same time. Although he was to complete
a great deal of speculation from writers
one further concerto and begin a sixth,
searching for extra-musical significance
the great G major concerto was the last in
in Beethoven’s music: long after the
which Beethoven appeared as soloist.
composer’s death the German critic Adolph
Much has been made of Beethoven’s striking opening of the work with the soloist, but, as in the concerto Mozart wrote for Mlle Jeunehomme many years
Bernhard Marx suggested that it depicted Orpheus taming the Furies. The flamboyant Rondo, which sees the addition of trumpets and timpani to
earlier, the solo instrument is quickly
the score, is more in keeping with the
replaced by a more or less conventional
spirit of the earlier concertos although it
orchestral introduction. What is more
too contains a breadth of vision which is
unexpected, given the character of much of
substantially new. The music no longer
Beethoven’s ‘middle period’ music, is the
sounds like Mozart and Haydn in rough
unexpected temper of the movement; the
habit: it is unmistakably Beethoven in all the
Allegro moderato unfolds with a persuasive
majesty of his full maturity.
DIEDRE IRONS Diedre Irons was born in Winnipeg, Canada. As a child prodigy she came to the attention of Russian-born composer/ violinist/pianist Sophie-Carmen (Sonia) Eckhardt-Gramatté, whose master pupil she became. At the age of 18 she made her official début with the Winnipeg Symphony Orchestra playing Stravinsky’s Concerto for Piano and Winds. After graduating from the Curtis Institute of Music in Philadelphia, Diedre Irons was invited by her teacher, Rudolf Serkin, to join the faculty of that prestigious conservatory. She taught there for the next seven years, at the same time touring extensively in Canada and the United States both as a soloist and as a chamber music player.
Irons moved to New Zealand in 1977 and has since become a vital part of the New Zealand music scene, performing frequently with the New Zealand Symphony Orchestra, the Auckland Philharmonia, and the Christchurch Symphony. She has toured many times under the auspices of Chamber Music New Zealand, and recorded extensively for Radio New Zealand. She continues to travel internationally, having, to date, performed concerts in 25 countries. Diedre Irons was awarded an MBE for services to music in 1989. She was Senior Lecturer in Piano at the University of Canterbury until the end of 2003; in 2004 she took up the position of Head of Piano Studies at Victoria University of Wellington, New Zealand.
DiedreIrons Piano Recital M ozartSchumann Ravel Gershwin Chopin
Also available from Trust Records FEATURING DIEDRE IRONS MMT2041 DIEDRE IRONS – PIANO RECITAL
Century Classics Ensemble, which has presented the New Zealand premieres of many 20th century masterpieces, Taddei is also an advocate of contemporary New Zealand composers. Also available from Trust Records featuring
MARC TADDEI Marc Taddei is the Music Director of the Christchurch Symphony, Associate Conductor of the Auckland Philharmonia, and Music Director of New Zealand’s premier modern music group, the 20th Century Classics Ensemble. He holds the positions of Head of Orchestral Repertoire Studies and Artist Teacher of Conducting at Victoria University of Wellington, New Zealand. Taddei has conducted in Europe and North America, and is a frequent guest conductor with every professional orchestra in New Zealand. He is noted for his interpretations of the Germanic and late-Romantic repertoire and is a keen advocate of the Second Viennese School. In addition to his work with the 20th
marc taddei MMT2043 CHRISTMAS BAROQUE NZSO
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MMT2050 BEETHOVEN – PIANO CONCERTOS 1 & 2 DIEDRE IRONS CHRISTCHURCH SYMPHONY MARC TADDEI
THE CHRISTCHURCH SYMPHONY Recently described by conductor Sir William Southgate as ‘...a minor miracle which boxes way above its weight’, the Christchurch Symphony is one of New Zealand’s small number of professional orchestras and is a vital part of a vibrant artistic scene in Christchurch. Founded almost 30 years ago, it has built up a core of over 30 professional players, which it augments when required with other talented players in the Christchurch region. Under Music Director Marc Taddei the orchestra has embarked on a strategy of expanding its range and versatility. Its annual programmes span the ages and styles from the Baroque to the great Bruckner and Mahler symphonies. Its ‘pop’ programme features top New Zealand and overseas artists such as Bic Runga and Midge Marsden. Marsden’s performance of the late William Russo’s Three Pieces for Blues Band, was both a new direction for the orchestra and
enthusiastically received by audience and critics alike. Its programmes have included works by New Zealand composers Douglas Lilburn, Gareth Farr and Chris Cree Brown and Ewan Clark. The Christchurch Symphony also tours to South Island centres and is regularly engaged by, amongst others, Canterbury Opera, the Christchurch City Choir and the Royal New Zealand Ballet. The Christchurch Symphony has released two previous recordings, Live at the Proms and the much acclaimed Landmarks, a compilation from the orchestra’s repertoire. AMI Insurance is Christchurch Symphony’s principal sponsor and its generous assistance enabled the orchestra to participate in this recording.
Rita Angus (1908-1970) Rita Angus was born in Hastings and studied at the Canterbury College School of Art from 1927 to 1933. In the 1930s she exhibited at the Canterbury Society of Arts and with ‘The Group’ (ex-students from the Society who set up their own exhibitions), while working as a graphic artist. She painted extensively in Otago, Canterbury and later Hawkes Bay and Wellington. Her work in the 1930s and 40s, the period in which Untitled (Mountain biological station, Cass) was painted, has often been described as ‘regionalist’ in its apparent celebration of a specific time and locality. In 1954 she bought a cottage in Thorndon, Wellington where she lived and worked until her death in 1970. During the 1930s Rita Angus made a number of sketching trips into the Canterbury high country with friends and fellow artists such as Louise Henderson. Untitled (Mountain biological station, Cass) captures the isolation of a tiny settlement in the Southern Alps with its small railway station set against dominating landforms. Angus used a distinctive style of realism, with clearly defined shapes, blocks of strong colour and a clear, pervading light. She was searching for ways to combine
her own experience of the area and the essential nature of the region. The colours are seen as typical of the Canterbury School of artists.
William Alexander (Bill) Sutton (1917-2000) Born in Christchurch, New Zealand, W.A. Sutton was educated at Christchurch Boys High School and at the University of Canterbury College of Art (1934-1938). During the course of his career he received many awards and fellowships, including the Queen Elizabeth II Fellowship in 1973 and the Governor General’s Award in 1984. He was awarded the CBE in 1980. Sutton’s contribution to New Zealand’s art history was his development of the landscape through his depiction of the Canterbury region over almost six decades. Using both oils and watercolour, his style changed over the years from a realist to an abstract approach. He began to seek the essence of the landscape, paring back the visual components to angle and form, emphasising structure and composition. Through his study of the unique patterns of the sky, the shapes, textures and forms of the land in Canterbury, he gave the region an identity unparalleled in New Zealand art
BEETHOVEN PIANO CONCERTOS 3 & 4 MMT2051 Live Stereo Recording 2004 HRL Morrison Music Trust 2004 HRL Morrison Music Trust Recorded live at the Christchurch Town Hall, New Zealand, in association with AMI Insurance and Concert FM, during 14 & 15 June, 27 & 28 September, 2003. Production Wayne Laird Recording Engineer Noel Maginnity Executive Producer Ross Hendy Booklet Notes Dr Allan Badley Booklet Coordinator Janey MacKenzie Design Mallabar Music Photo Credits Robert Cross, Bob Goundrill, Raimund Lavender The HRL Morrison Music Trust gratefully acknowledges the support of the following people and organisations in the making of this recording: AMI Insurance, Concert FM, John Gow, Neil Roberts, Justine Cormack, Tim Jones and David Catty. The HRL Morrison Music Trust was established in March 1995 as a charitable trust to support New Zealand musicians of international calibre. All funds received
by the Trust are used to make recordings, present concerts – both in New Zealand and overseas – and assist artists to undertake projects to further develop their talents. More information about other releases by the HRL Morrison Music Trust can be found at the internet site: www.trustcds.com All rights of the producer and of the owner of the work reproduced are reserved. Unauthorised copying, hiring, lending, public performance and broadcasting of this recording is prohibited. Also available in this series MMT2050 BEETHOVEN – PIANO CONCERTOS 1 & 2 DIEDRE IRONS CHRISTCHURCH SYMPHONY MARC TADDEI
BEETHOVEN PIANO CONCERTOS 3 & 4 DIEDRE IRONS CHRISTCHURCH SYMPHONY MARC TADDEI
PIANO CONCERTO NO.3 IN C MINOR, OP.37 Allegro con brio Largo 3 Rondo: Allegro 1 2
17:29 11:11 9:41
PIANO CONCERTO NO.4 IN G, OP.58 Allegro moderato Andante con moto 6 Rondo: Vivace 4 5
20:20 5:17 10:36
Total Time 74:55MMT2051 Live Stereo Recording2004 HRL Morrison Music Trust2004 HRL Morrison Music Trust