Mozart, Danzi, Beethoven for Piano and Winds
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opis: Unfortunately there is no real Norwegian language equivalent to the expression “unsung hero,” but one can immediately place Franz Danzi in that category. His upbringing in Mannheim in the 1770s and 80s provided him with the perfect backdrop to experience the most important musical currents of the time, where people puttered around with such things as synchronized bowings and soloistic wind parts in the orchestra – elements commonplace to us today, but considered quite groundbreaking then. The young Danzi also met Mozart, who showed a great interest in the pioneering work in Mannheim, and Danzi expressed boundless admiration for the old master throughout his entire life.
Danzi’s big dream was to further develop the German Singspiel genre, where Mozart, with the operas The Abduction from the Seraglio and The Magic Flute, had laid a golden foundation. Danzi’s wife, Margarethe Marchand, was an outstanding soprano and an enthusiastic promoter of her husband’s works, but when she died at the young age of 32, Danzi seemed to lose interest in the genre. However, he was an avid supporter and inspiration to his younger colleague, Carl Maria von Weber. Weber’s Singspiel Der Freischu¨tz (The Marksman) took the genre to new heights, with the manifestation of nature as a singing creature. For this we must thank Danzi!
Quintets for winds and piano are a rare bird in music history, and the reason for that may very well be that Mozart’s and Beethoven’s own works set such high standards that few dared to follow in their footsteps. This idea is by no means an oddity. We can think of the clarinet quintets of Mozart and Brahms, which depict a perfectly symbiotic soundscape just waiting to be explored. But where these two towers loom over all others, later “structures” have been few and far between. From the Mannheim development, which gave the winds more space in the orchestra, came the desire for pure wind ensembles of various sizes, and also in combination with other instruments. Mozart’s quintet is a natural first stopping point for this development, and as is often the case with Mozart, his first attempt becomes a great success: an ensemble that basically isn’t particularly homogenous, in a perfect unit, where there is still plenty of room for each instrument to shine. The piano has a supporting role but often discreetly lies in the background against the vibrant escapades of the winds. The first movement has a lithe introduction where the lines wander, in the most outstanding Mozart-esque way, from instrument to instrument, intersecting and inspiring each other, but never overshadowing or disturbing one another. The Larghetto is an archetypal Mozart movement from this period, seemingly uncomplicated, but where long, increasingly intricate harmonic surfaces unfold before it all returns to the charming, operatic bits that bring us safely to shore. And to mark the soloistic element of this quintet, Mozart rounds off the finale’s lively rondo with a brief cadenza, where the instruments mimic each other before uniting together toward the final stretch.
One of music history’s most mythical, yet almost unwritten encounters is the one that took place between Mozart and the then 16-year-old Beethoven in Vienna in 1787. Virtually every source contradicts the other. Some claim that Mozart was beside himself with enthusiasm, others that he was lukewarm and didn’t want Beethoven as his student. Neither Mozart nor Beethoven mentions the meeting in his own correspondence, but we can infer from Beethoven’s late sketchbooks he used to keep a conversation going – he received written questions and answered them verbally – that a meeting took place and that there may have been more than just cordiality on Mozart’s part.
Mozart was 28 years old when he composed his quintet. With over 450 works under his belt, his name was well-established in Vienna and he could thus allow himself to compose a piece where other musicians could shine. Beethoven was a relatively unknown 26-year-old when he released his quintet. He first and foremost sought to emerge as a pianist, and to a lesser extent a composer. His quintet is often regarded as a twin piece to Mozart’s, but despite all the external similarities – the key, the slow introduction, the three movements – they have very little else in common. Mozart represents the coronation of classicism, an Olympic, brilliantly clarified form in which established frames are fully exploited. Beethoven wants to get away from white, delicate porcelain skin under parasols in the imperial pavilions into a raw world where the pianist is quite impolite as the work draws to a close, leaving on a long improvisational tour while the other musicians find themselves sitting and waiting. The theme continues when it suits him. Still, there is no doubt that Beethoven’s quintet is very much an ensemble piece, the twisted evolution of ideas in the first movement’s introduction and the mysterious, veiled development section in that same movement is the work of a master. Long, swimming pedals and a canon section in the finale, that most of all sounds like a big misunderstanding, are both indicative of what’s to come. Early Beethoven has an uncomplicated, musical feel, the welcoming and charming themes of the 2nd and 3rd movements sit in one’s ear and both form the basis for the rondo movements with delicately carved, contrasting episodes.
As a liberating antithesis to the happiness in E-flat, comes Danzi’s quintet in D minor. Here we are far from lace and crystal, but on the contrary, deep-seated in a pre-romantic, bleak landscape – and perhaps the slow introduction is a slight nod to Mozart’s unfinished requiem? To a greater extent than Beethoven, Danzi sets the piano and winds up against each other, where themes are often first presented in the winds and are then embroidered or further developed in the piano voice – which in the first movement is swirling and swarming, while the wind voice is heavy, broad, and insistent. The second movement begins with a gentle, slightly withdrawn theme before it all slowly rolls away, seasoned with improvisational whims and long, uninterrupted sounds. The third movement is an abrupt affair with a partly jarring, somewhat singable theme, interrupted by more optimistic middle parts, which nevertheless fail to remove the impression of a rather dark world.
All in all, a trilogy of vastly different origins takes shape – the superb Mozart, the forging ahead, self-centered Beethoven, and the “worker ant” Danzi, who while playing the piano himself, wanted to clear a space for wind instruments within chamber music. He achieved this not in the least as the “father” of the wind quintet, where he has a catalogue of outstanding works to his name.
Christian Ihle Hadland
Christian Ihle Hadland has established himself amongst the European elite as a soloist and chamber musician. Since 2010 he has been the joint artistic director of the Stavanger International Chamber Music Festival, first together with Swedish clarinetist Martin Fröst, then with Norwegian violinist Jan Bjoranger, and now with Danish cellist Andreas Brantelid. Critics have called attention to Hadland’s broad diversity in his treatment of sound, subtle phrasing, and singing tone. Several have also pointed out his sense of rhythm and natural variation in tempo. His playing is characterized by a deep concentration that imports a strong presence to the performance.
Christian Ihle Hadland took his first piano lessons at the age of eight. Three years later he enrolled in the Rogaland Music Conservatory, where he studied with Erling Ragnar Eriksen. Further studies followed with Professor Jiri Hlinka, both privately and at the Barratt Due Institute of Music in Oslo. His Norwegian debut took place in 1998 with the Norwegian Radio Orchestra. Following his solo recital debut at the Norwegian Opera in 2008, critics hailed that Hadland is “a unique musician whose artistry can fill any of the world’s concert scenes.” Hadland’s international breakthrough came in 2011 when over a two-year period, as a BBC Radio 3 – New Generation Artist, he performed a number of solo projects with all five of the BBC’s orchestras, performing at the UK’s most prestigious chamber music scenes and festivals. This engagement culminated in a performance of Beethoven’s second piano concerto with the Oslo Philharmonic Orchestra and conductor Vasily Petrenko at the BBC’s Promenade Concerts in 2013.
Christian Ihle Hadland has performed with several of the leading orchestras in Europe and has collaborated with conductors such as Sir Andrew Davis, Leonard Slatkin, and Herbert Blomstedt, as well as musicians including Janine Jansen, Truls Mork, and Clemens Hagen, among others. During the 2006 Nobel Peace Prize ceremony in Oslo’s City Hall, he performed solo piano and also accompanied soprano Renée Fleming, reaching millions of viewers.
Christian Ihle Hadland’s repertoire is multifaceted, ranging from William Byrd to Alfred Schnittke. However, his main focus lies in the classical/romantic catalogue, with composers such as Franz Schubert, Wolfgang Amadeus Mozart, Frédéric Chopin, and Robert Schumann, in addition to Johann Sebastian Bach, and it is this repertoire that is reflected in his CD releases.
OSLO KAMMERAKADEMI
Oslo Kammerakademi performs chamber music for winds with the historical Harmoniemusik instrumentation as a foundation. Founded by Artistic Director and oboist David Friedemann Strunck, the ensemble has established itself as a leader in Europe, with critically acclaimed CD recordings and recurring invitations to prestigious festivals such as the Rheingau Music Festival, the Schleswig-Holstein Music Festival, Summerwinds Woodwind Festival Münsterland, Glogerfestspillene, the Fartein Valen Festival, Trondheim Chamber Music Festival, Stavanger Chamber Music Festival, and the Valdres Summer Symphony Festival, among others.
Oslo Kammerakademi utilizes historical brass instruments in repertoire from the baroque, classical, and romantic periods. This contributes to the ensemble’s authentic sound and historically-oriented performances. Oslo Kammerakademi also performs newly written music for the Harmoniemusik setting. The ensemble has thus far collaborated with composers Mert Karabey (Turkey), and Norwegian composers Magnar Am, Morten Gaathaug, Ketil Hvoslef, Trygve Broske, and Gisle Kverndokk. Since its inception in 2009, the ensemble’s ambition has been to embrace the full range of literature for the Harmonie ensemble – from its origins in Vienna in the 1780s to the music of our own time.
Oslo Kammerakademi released its first CD recording, “Beethoven for Wind Octet” (LWC1036) in 2012, and the CD “Leipzig!” (LWC1058) in 2014. Oslo Kammerakademi’s third CD, “the first beauty” (LWC1093), which was released in 2015, hence completed a trilogy of Harmoniemusik from three eras. All three releases have been very well-received both at home and abroad. BBC Music Magazine awarded the ensemble’s debut album five out of five stars. In 2017, the ensemble released a recording with music for wind octet by W.A. Mozart, “Mozart for Wind Octet” (LWC1141), which also received overwhelmingly favorable reviews.
Oslo Kammerakademi has their own concert series at the Norwegian Opera in Oslo and runs their own festival in Ski in Akershus County.
LWC1187
Opis
- Wydawca
- Lawo Records
- Kompozytor
- Franz Danzi, Ludwig van Beethoven, Wolfgang Amadeus Mozart
- Artysta
- Christian Ihle Hadland
- Nazwa
- Mozart, Danzi, Beethoven for Piano and Winds
- Zawiera
- CD
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