There is not much chance that visitors of live concerts with music of the classical era have the chance to hear music by lesser-known contemporaries of the masters Mozart, Haydn and Beethoven. Even the best-known among them, such as Johann Nepomuk Hummel, take a minor role in modern concert life. It is thanks to some specialists, and in the latest decades in particular the representatives of historical performance practice, that now and then recordings of such repertoire are released. Today their composers are overshadowed by the 'masters'. That was very different in their own time. The two Kozeluchs, for instance, were highly respected in their time. They were just two of many composers and performers from Bohemia, who made a career in their own part of Europe or even far beyond. The first disc to be reviewed here includes three concertos for a wind instrument. During the baroque era the oboe was one of the most revered instruments. Two oboes, strings and basso continuo was the standard scoring of orchestral suites, and many composers wrote concertos and sonatas for it as well as obbligato parts in vocal works. The best-known oboe concerto from the classical era is the one by Mozart. According to Karl Böhmer, in his liner-notes to this recording, Jan Anton Kozeluch's Concerto in F is one of the best of its time, and written in the classical style. Many concertos of the classical era show the influence of opera, and that manifests itself here especially in the slow movement. The bassoon was also often part of the scoring of baroque orchestral suites, but in comparison to the oboe, only a few composers wrote solo concertos or sonatas for it. Antonio Vivaldi was the first prolific composer of bassoon concertos, and in Germany it was Christoph Graupner who composed some virtuosic bassoon concertos. In the classical era it is Mozart's concerto that is best-known, although by far not as famous as his clarinet concerto. Jan Anton Kozeluch wrote the Concerto in C that has become part of the standard repertoire. Many pieces by the Kozeluch's are hard to attribute to one of them, as they often mention only 'Kozeluch' as the name of the composer. That is also the case with the Concerto in B flat, whose solo part falls within the range of a baroque bassoon and therefore may be the earliest piece on this disc. It may be an early work of Leopold. The disc ends with the latter's Symphony in g minor, which is one of three dating from the 1780s. Böhmer mentions similarities with Mozart's last symphonies, and it is interesting to note that Kozeluch's symphonies precede them. This disc is a worthy tribute to two composers whose oeuvre is seriously underexposed, which is unjustified, as this recording proves. Both Giovanni de Angeli and Sergio Azzolini deliver excellent performances of the solo parts. Especially interesting is Azzolini's instrument, an original bassoon of around 1794. Camerata Rousseau is their outstanding partner, and closes this disc with an energetic performance of Leopold Kozeluch's symphony.
Like the Kozeluchs, Antonin Reicha was from Bohemia. He is better-known than they, but mainly because of his connection to Beethoven. As far as his oeuvre is concerned, the wind quintets are part of the standard repertoire of wind ensembles, but he has written much more, which is seldom performed. That makes the second disc reviewed here especially important. It includes two sinfonias concertante, specimens of a genre that was very popular in the classical era. The first such works were written and performed in Paris in the second half of the 18th century. Such pieces were something between a symphony and a solo concerto. They were always scored for an orchestra with solo parts for two or more instruments. The main aim of a sinfonia concertante was entertainment. The genre belongs among the 'lighter' genres of the time. However, the way composers treated it was different. One of the best-known pieces of this kind is Mozart's Sinfonia concertante for violin and viola, which is one of his most-beloved works for a reason. The two sinfonias concertante by Reicha which Stephan MacLeod recorded with his orchestra Gli Angeli Genève and four soloists, are far more than mere entertainment. The sheer size of these works - around 30 and 40 minutes respectively - indicates that these are substantial works. That goes in particular for the Sinfonia concertante in E, which has two cello parts that are technically challenging; in comparison the parts for transverse flute and violin in the Sinfonia concertante in G are easier to deal with. At the same time, as Alexis Kossenko states in the booklet, it is obvious that Reicha, having been educated at the flute, had an intimate knowledge of the instrument. This work is closer to the ideal of entertainment than the other piece. In the work for two cellos we find traces of opera, as in the concertos on the first disc. It is also uncommon in that it opens in C major rather than the main key of E major. This disc should contribute to giving Reicha its rightful place in the landscape of classical music. These two works deserve the best possible performances, and that is exactly what they get here. Chouchane Siranossian, Alexis Kossenko, Christophe Coin and Davit Malkonyan are top-class performers, who deliver outstanding performances of the solo parts and are also fully integrated in the orchestra. In particular the Sinfonia concertante in E was recorded in difficult circumstances, due to the restrictions because of COVID-19. It is a token of the quality of the soloists and the orchestra that the result is this good.
The third disc is devoted to Johann Wilhelm Wilms, a composer of German birth, who settled in Amsterdam in 1791 and played a major role in music life in the Netherlands in the early 19th century, as a composer, a conductor, a flautist and a pianist. In the last twenty years or so we witness a modest revival of his output. Some of his symphonies and solo concertos have been recorded, but the Accent disc seems to include only first recordings of his clarinet concerto and two sinfonias concertante, which he himself called just Concertante. The most remarkable piece may well be the Concerto in B flat for clarinet, which - according to the soloist, Ernst Schlader - is technically comparable with Mozart's concerto. He also notes some tricky passages that point in the direction of clarinet works by Weber. The two sinfonias concertante are not without technical challenges either. That goes, for instance, for the cello part in the Concertante in C. The other solo parts are for transverse flute, clarinet, bassoon and violin. The Concertante in F is scored for transverse flute, oboe or clarinet (here the oboe has been chosen), bassoon, horn and orchestra. The 'entertainment' in these works comes in the last movements: a polonaise closes the Concertante in C and the clarinet concerto. The Concertante in F comprises only two movements: the first is in three sections (allegro - andante - allegro), the second is a set of variations - a very popular form at the time. So far the ensemble Harmonie Universelle has almost entirely confined itself to music from the baroque era; this is probably the latest music it has ever played. It does so very well, and it is nice that they have focused on Wilms, who deserves more interest than he has been given so far. With Andreas Spering they have invited a conductor with vast experience in the classical repertoire. The soloists do an excellent job here as well; they are all specialists on their respective (historical) instruments. This disc is a most convincing case for Johann Wilhelm Wilms.
[1] Johann Antonin & Leopold Kozeluch: "Concertos and Symphony"
Giovanni de Angeli, oboe; Sergio Azzolini, bassoon; Camerata Rousseau/Leonardo Muzii
Sony 19439788202 (© 2021) details
[2] Antonin Reicha: "Symphonies concertantes"
Alexis Kossenko, transverse flute; Chouchane Siranossian, violin; Christophe Coin, Davit Melkonyan, cello; Gli Angeli Genève/Stephan MacLeod
Claves CD 50-3011 (© 2020) details
[3] Johann Wilhelm Wilms: "Clarinet Concerto, Sinfonie Concertante"
Ernst Schlader, clarinet; Harmonie Universelle/Andreas Spering
Accent ACC 24391 (© 2023) details
Showing posts with label Gli Angeli Genève. Show all posts
Showing posts with label Gli Angeli Genève. Show all posts
Saturday, September 16, 2023
Sunday, March 28, 2010
Education projects
There is much talk about the ageing of the audiences of classical concerts. I can speak out of experience: at the concerts I am attending I see many grey and bald heads, and very few people who are not at least in middle age. As I only attend concerts with early music it is possible that the situation is better in other sections of the classical music scene. But from what I hear and read that is not really the case.
The cause of this situation may be partly financial: people under 40 probably have not enough spending power to attend concerts at a regular basis. But it is also a matter of not being acquainted with classical music. This is partly the result of the bad state of music education in schools in the Netherlands. And I wonder whether that is really different elsewhere.
Lamenting this state of affairs is one thing, trying to do something about it is quite different. Fortunately there are musicians who create and take opportunities to present themselves and the music they love to young people. Some years ago the Belgian violinist and conductor Sigiswald Kuijken performed all London symphonies by Haydn, and as part of that project he also talked about Haydn and his symphonies to young people. I heard some fragments of it on Belgian radio, and Kuijken was quite good in explaining what the music was all about.
The Holland Baroque Society also has developed some educational projects of its own. Its website says: "Children and young people in the Netherlands no longer come into contact with classical music in general, including Baroque music, as a matter of course. So Holland Baroque Society sees it as a duty to take it themselves to the schools, and in that way introduce students to the beauty of the Baroque. As with their concert series, HBS organises their educational work on a project-basis, which run parallel to the concerts. In this way they hope to impart their own enthusiasm for this music, and use their own inspiration to stimulate the children’s creativity."
They organise so-called 'Kids Only concerts'. They are presented "exclusively for those students that have taken part in the educational project, and the form and length of the concert is tailored to the age of the audience. The concert’s program revisits the material previously handled by the musicians during the lessons."
They give an example of a visit to a school where members of the orchestra gave presentations to every class with classical music in general, and music of the baroque in particular. This is an excellent example of an attempt to introduce young people to classical music.
Another ensemble has developed activities in this field. Recently a disc with German sacred music by the Swiss ensemble Gli Angeli Genève, directed by Stephan MacLeod, was released (Sony). The booklet tells us that "[as] part of its educational activities, Gli Angeli Geneve enabled secondary school students to spend an entire semester, under a pilot project, helping to organise and make all the arrangements for one of its concerts." This included scheduling, preparing contracts and organising concert tickets. "In a more musicological vein, they were introduced to musical analysis and the history of the cantata, they wrote a large portion of the notes that follow, originally for the programme to the Gli Angeli concert which took place in January 2009".
This way the ensemble extended its activities with primary-school children to older pupils. "[They] met the members of Gli Angeli Genève, in class or at rehearsal, and learned what professional life for them actually implies."
These are some examples of activities I know of which show professional musicians taking responsibility for promoting classical, and in particular early music. It would be great if others would copy their examples. Hopefully this kind of activities will result in more young people attending classical concerts in the future.
The cause of this situation may be partly financial: people under 40 probably have not enough spending power to attend concerts at a regular basis. But it is also a matter of not being acquainted with classical music. This is partly the result of the bad state of music education in schools in the Netherlands. And I wonder whether that is really different elsewhere.
Lamenting this state of affairs is one thing, trying to do something about it is quite different. Fortunately there are musicians who create and take opportunities to present themselves and the music they love to young people. Some years ago the Belgian violinist and conductor Sigiswald Kuijken performed all London symphonies by Haydn, and as part of that project he also talked about Haydn and his symphonies to young people. I heard some fragments of it on Belgian radio, and Kuijken was quite good in explaining what the music was all about.
The Holland Baroque Society also has developed some educational projects of its own. Its website says: "Children and young people in the Netherlands no longer come into contact with classical music in general, including Baroque music, as a matter of course. So Holland Baroque Society sees it as a duty to take it themselves to the schools, and in that way introduce students to the beauty of the Baroque. As with their concert series, HBS organises their educational work on a project-basis, which run parallel to the concerts. In this way they hope to impart their own enthusiasm for this music, and use their own inspiration to stimulate the children’s creativity."
They organise so-called 'Kids Only concerts'. They are presented "exclusively for those students that have taken part in the educational project, and the form and length of the concert is tailored to the age of the audience. The concert’s program revisits the material previously handled by the musicians during the lessons."
They give an example of a visit to a school where members of the orchestra gave presentations to every class with classical music in general, and music of the baroque in particular. This is an excellent example of an attempt to introduce young people to classical music.
Another ensemble has developed activities in this field. Recently a disc with German sacred music by the Swiss ensemble Gli Angeli Genève, directed by Stephan MacLeod, was released (Sony). The booklet tells us that "[as] part of its educational activities, Gli Angeli Geneve enabled secondary school students to spend an entire semester, under a pilot project, helping to organise and make all the arrangements for one of its concerts." This included scheduling, preparing contracts and organising concert tickets. "In a more musicological vein, they were introduced to musical analysis and the history of the cantata, they wrote a large portion of the notes that follow, originally for the programme to the Gli Angeli concert which took place in January 2009".
This way the ensemble extended its activities with primary-school children to older pupils. "[They] met the members of Gli Angeli Genève, in class or at rehearsal, and learned what professional life for them actually implies."
These are some examples of activities I know of which show professional musicians taking responsibility for promoting classical, and in particular early music. It would be great if others would copy their examples. Hopefully this kind of activities will result in more young people attending classical concerts in the future.
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