Download VBP ProgrammeNotes Sept 2014 copy

Programme Notes, September 2014
Luigi Boccherini (1743-1805) : Sextet Op. 42 in Eb
for Flute, Bassoon, Horn, Violin, Viola and Bass
I - Andante Lento
II - Allegro ma non Presto
II - Tempo di Minuetto
It is difficult to find a composer from the second half of the 18th century who was not inspired
and influenced by Haydn. Boccherini is no exception to this, despite spending much of his life in
Spain and therefore far from Haydn. Born into a musical family in Lucca, Italy, he followed in his
father’s footsteps by playing the ‘cello. His works have often been promoted by cellists in the
recent revival of his music: he wrote at least 39 cello sonatas and 12 cello concertos, along with
hundreds of chamber works featuring the ‘cello. As a performer, he gained a reputation for being
able to play violin repertoire parts at pitch on his instrument, but as a composer he has a
significant output of compositions in many other forms, such as opera, symphonies, quartets
and quintets. He lost his job as a court composer in Madrid after a request from King Charles III
to change a passage in a newly composed Trio: Boccherini promptly doubled the passage and
was instantly dismissed.! !
The Sextet we perform for this concert is a work in three short movements, charming and typical
of the serenade in its musical style. However, the form of the three movements is slightly
unusual in being Slow - Fast - Minuet, different from the more common structure exemplified in
the Koželuch Serenade of the overall Fast - Slow - Minuet - Fast. Boccherini’s first movement
might have been considered a slow introduction to the Allegro, except that it became a whole
movement in its own right. The Minuet was such a popular dance form in the 18th century that
many works concluded with one until the Sonata structure became more a popular artistic
mould in the later part of century, when the Minuet became a middle movement.
Andrew Clark
Wolfgang Amadeus Mozart (1756-1791) : Flute Quartet in C KV 285b
for Flute, Violin, Viola, and 'Cello
I - Allegro
II - Theme & Variations
"Mozart is life itself," said the great conductor Sir Colin Davis in a Guardian interview. Indeed,
listening to and playing Mozart makes it evident that composing was like breathing to Mozart. His
music has the most natural flow, yet it is full of constant unexpected turns; it is replete with humour
and wit, yet at the same time has an incredible quality of transcendent beauty.
The origin of Mozart's C-major Flute Quartet is uncertain, but it is speculated that it was written for
his good friend the flute player Johann Baptist Wendling--in which case, rather than being
composed for a commission, this music was written out of pleasure to be played by friends. The first
movement Allegro is generally exuberant and light-hearted, but takes unexpected darker turns in
the development section. The second (and last) movement - Theme and Variations - is same
material as in his Grand Partita K361/370a for twelve wind instruments and bass, however, it is not
known which work was composed first. Both of the versions are masterful and fit the instruments so
naturally, it is impossible to guess which one is the arrangement. The theme, innocent like a
children's song, is followed by four variations in different characters, one featuring each of the
instruments. The fifth variation Adagio takes a more transcendent quality, which is brushed off by the
humorous sixth and final variation.
Soile Stratkauskas
Leopold Kozeluch (1752-1818) : Serenata in D Op.11/1
for Flute, Horn, Violin, Viola, and 'Cello
I - Adagio & Allegro molto
II - Romanza (Andante)
III - Menuetto
IV - Rondo (Presto) - Andante - Rondo
Originally known as an acclaimed pianist, Koželuch changed the spelling of his surname by
adding a ‘c’ to avoid confusion with his cousin, composer Jan Antonin Koželuh, with whom he
studied for a time. Nonetheless, the first publisher of this work, André of Paris, spelt his name as
Kotzeluch, perhaps to aid pronunciation, precision in these matters perhaps being somewhat
less important in those days. During his lifetime his music (multiple concertos, operas,
symphonies, cantatas) was appreciated across all of Europe but it became less well known after
the pre-eminence of works by Mozart in Beethoven in the 19th century. He was offered and yet
declined Mozart’s job in Salzburg after Mozart left in 1781, but in 1792 accepted the position of
court composer in the Prague court vacated by Mozart on his death.! !
This charming Serenade is really a symphony for small forces: it comprises the typical
movements of a symphony including a short slow introduction to the first movement. As a
Serenade, it would have been composed for performance during a patron’s social gathering
(probably of nobility), but the circumstances of this particular work are lost. Whether the music
was for background or for active listening might not have been known in advance, and clearly
Koželuch took care to produce a well-crafted composition, described by contemporaries as full
of “cheerfulness and grace, noblest melody, purest harmony and most charming order of the
rhythms and modulations”. How could we resist?
Andrew Clark
Joseph Haydn (1732-1805) / transcribed by Johann Peter Salomon (1745-1815) :
Symphony Quintetto after Symphony No.104 ('London')
for Flute, Violin 1&2, Viola, 'Cello
I - Adagio & Allegro
II - Andante
III - Minuetto 1 & 2
IV - Allegro Spiritoso
Transcribing big symphonic works was a common practice in the Classical period. The concertos
and symphonies of Beethoven, Mozart, and Haydn were arranged for multiple combinations of
instruments, for one or two players on the piano, piano trios with violin and cello, and sometimes
with an added flute. In the absence of recording technology, the only way of reproducing great
orchestral works in homes and smaller venues was to play them in arrangements for smaller forces
with the instruments available. Many of these transcriptions were masterfully crafted--indeed, the
work sometimes almost took on a life of its own in the chamber arrangement, the large orchestral
piece becoming more intimate and conversational.
Johann Peter Salomon (1745-1815) was a renowned violinist, composer, conductor and
impresario. He brought Joseph Haydn (1732-1805) to London twice, in 1791-92 and 1794-95.
Haydn wrote his last twelves symphonies, numbers 93 to 104, for these trips. Haydn himself
conducted many of the premieres of these works, Salomon leading the orchestra from the violin.
Working this closely with Haydn, Salomon indeed had a good insight to the composer's intention.
Haydn handed Salomon the rights to these twelve symphonies and Salomon was free to exploit
them as he saw fit. Salomon being an excellent business man was aiming to achieve the greatest
possible dissemination of these works and so he published them in two separate chamber
arrangements: first came the transcription for piano with optional violin and cello parts in 1796.
Obviously Haydn's rich orchestral textures are heavily compromised in such a reduction. In 1798
came the quintet transcriptions for string quartet with flute and an optional piano part (which we
have chosen to leave out): a combination that proved extremely successful.
However, the way you are hearing the symphony tonight is somewhat of a transcription of a
transcription: for extra colour, we have added a bassoon to the instruments, given that we have the
opportunity of having such a wonderful bassoonist playing with us in this performance!
Soile Stratkauskas