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MOZART: Piano Concertos Nos. 20 and 21 / HAYDN: Piano Concerto No. 11

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Joseph Haydn (1732 - 1809) Piano Concerto No.11 in D Major, Hob. XVIII: 11 Wolfgang Amadeus Mozart (1756 - 1791) Piano Concerto No.20 in D Minor, K. 466...

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Joseph Haydn (1732 - 1809)

Piano Concerto No.11 in D Major, Hob. XVIII: 11

Wolfgang Amadeus Mozart (1756 - 1791)

Piano Concerto No.20 in D Minor, K. 466

Piano Concerto No.21 in C Major, K. 467 "Elvira Madigan"

Joseph Haydn was born in the village of Rohrau in 1732, the son of a wheelwright. Trained at the choir-school of St Stephen's Cathedral in Vienna, he spent some years earning a living as best he could from teaching and playing the violin or keyboard, and was able to learn from the old musician Porpora, whose assistant he became. Haydn's first appointment was in 1759 as Kapellmeister to a Bohemian nobleman, Count von Morzin. This was followed in 1761 by employment as Vice- Kapellmeister to one of the richest men in the Empire, Prince Paul Anton Esterhazy, succeeded on his death in 1762 by his brother Prince Nikolaus. On the death in 1766 of the elderly and somewhat obstructive Kapellmeister, Gregor Wemer, Haydn succeeded to his position, to remain in the same employment, nominally at least, for the rest of his life.

On the completion of the magnificent palace at Esterhaza in the Hungarian plains under the new Prince, Haydn assumed command of an increased musical establishment. Here he had responsibility for the musical activities of the palace, which included the provision and direction of instrumental music, opera and theatre music, and music for the church. For his patron he provided a quantity of chamber music of all kinds, particularly for the Prince's own peculiar instrument, the baryton, a bowed string instrument with sympathetic strings that could also be plucked.

On the death of Prince Nikolaus in 1790, Haydn was able to accept an invitation to visit London, where he provided music for the concert season organized by the violinist-impresario Salomon. A second successful visit to London in 1794 and 1795 was followed by a return to duty with the Esterazy family, the new head of which had settled principally at the family property in Eisenstadt, where Haydn had started his career. Much of the year, however, was to be spent in Vienna, where Haydn passed his final years, dying in 1809, as the French armies of Napo1eon approached the city yet again.

The concertos of Haydn have survived only in part and it was a form that he seems, perhaps for practical reasons, to have favoured less. In addition to the three surviving violin concertos, a horn concerto, the two cello concertos and a set of five concertos for lira organizzata written in 1786-7 for the King of Naples, there remain five keyboard concertos so described and eight smaller scale works for harpsichord, two violins and cello, known either under the title Concertino or Divertimento, the latter composed during the earlier part of Haydn's career, either during his period of service with Count von Morzin or during his first years at Eisenstadt with the Esterhazys. A number of other concertos of various kinds have been ascribed to Haydn, these with greater or lesser degrees of probability.

The best known of all keyboard concertos either attributed to or indisputably by Haydn is the Concerto in D major, Hob. XVIII: 11, designed for harpsichord or fortepiano and written at some time between 1780 and 1783. It is scored for the usual orchestra of two oboes, two horns and strings and appeared in a variety of editions in 1784 and thereafter. The opening orchestral exposition is entrusted to violins and violas, later joined by the whole orchestra before the entry of the soloist. The A major slow movement gives an opportunity for the display of some virtuosity and is followed by a lively and inventive Hungarian Rondo, with episodes that suggest the Turkish fashion explored by Mozart in his A major Violin Concerto.

The solo concerto had become, during the eighteenth century, an important vehicle for composer-performers, a form of music that had developed from the work of Johann Sebastian Bach, through his much admired sons Carl Philipp Emanuel and Johann Christian, to provide a happy synthesis of solo and orchestral performance. Mozart wrote his first numbered piano concertos, arrangements derived from other composers, in 1767, undertaking further arrangements from Johann Christian Bach a few years later. His first attempt at writing a concerto, however, had been at the age of four or five, described by a friend of the family as a smudge of notes, although, his father claimed, very correctly composed. In Salzburg as an adolescent Mozart wrote half a dozen piano concertos, the last of these for two pianos after his return from Paris. The remaining seventeen piano concertos were written in Vienna, principally for his own use in the subscription concerts that he organized there during the last decade of his life. The second half of the eighteenth century also brought considerable changes in keyboard instruments, as the harpsichord was gradually superseded by the fortepiano or pianoforte, with its hammer action, an instrument capable of dynamic nuances impossible on the older instrument, while the hammer-action clavichord from which the piano developed had too little carrying power for public performance. The instruments Mozart had in Vienna, by the best contemporary makers, had a lighter touch than the modern piano, with action and leather-padded hammers that made greater delicacy of articulation possible, among other differences. They seem well suited to Mozart's own style of playing, by comparison with which the later virtuosity of Beethoven seemed to some contemporaries rough and harsh.

Mozart entered the Piano Concerto in D Minor, K. 466, in his new catalogue of compositions on 10th February, 1785. It received its first performance at the Mehlgrube in Vienna the following day in a concert at which the composer's father, the Salzburg Vice-Kapellmeister Leopold Mozart, was present.

Leopold Mozart sent his daughter a description of the first of his son's Lenten, subscription concerts, remarking particularly on the fine new concerto that was performed, a work that the copyist was still writing out when he arrived, so that there had been no time to rehearse the final rondo. He found his son busy from morning to night with pupils, composing and concerts, and felt out of it, with so much activity round him. Nevertheless he was immensely gratified by Wolfgang's obvious success. The next day Haydn came to the apartment in Sch�lerstrasse and Mozart's second group of quartets dedicated to the older composer were performed, to Haydn's great admiration.

The D Minor Piano Concerto, the first of Mozart's piano concertos in a minor key, to be followed a year later by the C Minor Concerto, adds a new dimension of high seriousness to the form, a mood apparent in the dramatic orchestral opening, with its mounting tension as the wind instruments gradually join the strings. The concerto is scored for trumpets and drums, as well as the now usual flute, pairs of oboes, bassoons and horns, with strings, the violas divided. The soloist enters with a new theme, after an orchestral exposition that has announced the principal material of the movement, and later extends the second subject in a work in which the recurrent sombre mood of the opening is only momentarily lightened by reference to brighter tonalities, these too not without poignancy.

The slow movement, under the title Romance, is in the form of a rondo, in which the principal theme, announced first by the soloist, re-appears, framing intervening episodes. Its key of B flat major provides a gentle contrast to the first movement, with a dramatic return to the minor, G minor, in the second episode. Trumpets and drums are, according to custom, omitted from the movement, but return for the final rondo, into which the soloist leads the way, again in the original key of D minor. A triumphant D major version of an earlier theme interrupts a repetition of the minor principal subject, after the cadenza, and brings the concerto to an end. Cadenzas were presumably improvised by Mozart, and not written out, as they would have been for his pupils or for his sister, and do not survive. Beethoven, who had narrowly been prevented by his mother's final il1ness from studying with Mozart in Vienna, provided cadenzas for the first and last movements.

Mozart's Piano Concerto in C Major, K. 467, was entered in his catalogue of compositions with the date 9th March, 1785, a month after his D Minor Concerto. Like its immediate predecessor it is scored for trumpets and drums, as well as flute, pairs of oboes, bassoons and horns, and strings, with divided violas. It was first performed by the composer at the fifth of his Lenten Mehlgrube concerts on 11th March, the day after a concert in the Burgtheater for which he had used his new fortepiano with an added pedal-board, an instrument that his father remarks is constantly being taken out of the house for concerts at the Mehlgrube or in the houses of the aristrocracy.

The opening bars of the exposition, played by the strings, are answered, in military style, by the wind, and there is a second theme of less significance than a true second subject, which is reserved for the soloist's exposition. The soloist enters at first with an introduction and brief cadenza, leading to a trill, while the strings again play the first part of the principal theme, answered by the piano, which then proceeds to material or its own. An unexpected foretaste of the great G Minor Symphony from the soloist leads to the happier mood of the true second subject, echoed by the woodwind and followed by darker moments in the central development. The F major slow movement has won recent fame, by its use in the film Elvira Madigan, but is, nevertheless, one of the most beautiful of Mozart' s slow movements, moving in its apparent simplicity and lack of bravura, but complex, in fact, in its harmonic pattern.

Trumpets and drums return for the final rondo, its principal theme announced by the orchestra and repeated by the soloist. The movement provides a relaxation of mood, a carefully balanced and lighter conclusion to a concerto of much substance.

Jeno Jando

The Hungarian pianist Jeno Jando has won a number of piano competitions in Hungary and abroad, including first prize in the 1973 Hungarian Piano Concours and a first prize in the chamber music category at the Sydney International Piano Competition in 1977. He has recorded for Naxos all the piano concertos and sonatas of Mozart. Other recordings for the Naxos label include the concertos of Grieg and Schumann as well as Rachmaninov's Second Concerto and Paganini

Rhapsody and Beethoven's complete plano sonatas.

Hae-won Chang

Hae-won Chang was born in Korea in the city of Seoul and started to play the piano at the age of six, completing her professional studies at Ewha University in Seoul in 1963. From 1964 until1968 she studied at the Frankfurt Musikhochschule and on her return to Korea was appointed professor of piano at her old university.

In Korea she has enjoyed a busy career as a teacher and as a performer and in other Asian countries, in America and in Europe, with annual concert tours and engagements at home and abroad. She has appeared as a soloist with major orchestras and in recitals and in 1985 was acclaimed by the Music Critics' Circle of Korea as Musician of the Year, and won high praise in the German press for her technical accomplishment and musicianship. Her recordings for Naxos and Marco Polo include piano works by Pierne and Ibert, Scarlatti's sonatas, concertos by Hummel and the complete J. S. Bach keyboard concertos.

Concentus Hungaricus

The Concentus Hungaricus was established in February 1985 by Peter Popa and consists of leading members of the Budapest Symphony Orchestra under the co-leadership of Ildiko Hegyi and Pal Andrassy. The 16 member ensemble has worked with leading Hungarian and foreign musicians, including Vilmos Tatrai, Andras Mihaly, Miklos Perenyi, Denes Kovacs, Jeno Jando, Gyorgy Pauk and Viktoria Jagling, and performs frequently at home and abroad. The repertoire of the group ranges from Purcell and Corelli to Schoenberg, Bartok and Alban Berg, while recordings include extensive studio work and releases by Hungaroton and Naxos.

Camerata Cassovia

The Camerata Cassovia is the chamber ensemble of the Slovak State Philharmonic Orchestra which is based in the Eastern Slovakian town of Kosice.

The orchestra was founded in 1968 and has toured widely within Europe and the Far East.

Andras Ligeti

Andras Ligeti has been a conductor with the Budapest Symphony Orchestra since 1985. Born in Pecs in 1953, he went on to study the violin at the Liszt Music School in Budapest, taking his Artist's Diploma in 1976. From that date until 1980 he was leader of the orchestra of the Hungarian State Opera and appeared as soloist in a number of European countries, as well as in Canada. He was a member of the �der Quartet and leader of the Jeunesse Chamber Ensemble. In 1980 he won first prize in the Bloomington Sonata Competition, and during the 1980 -1981 season worked under Sir Georg Solti and as a pupil of Karl �sterreicher in Vienna. Until his appointment to the Radio Orchestra Ligeti was a conductor with the State Opera. He has directed performances of a number of contemporary works, in addition to his experience with the repertoire of the opera house and his varied career as soloist, chamber musician and orchestral conductor.

Robert Stankovsky

Robert Stankovsky was born in Bratislava, the capital of Slovakia, in 1964, and after a childhood spent in the study of the piano, recorder, oboe and clarinet, turned his attention, at the age of fourteen, to conducting, graduating in this and in piano at the Bratislava Conservatory with the title of best graduate of the year, Stankovsky is regarded as one of the most talented conductors of the younger generation in the former Czechoslovakia. For Marco Polo he has recorded symphonies by Rubinstein and Miaskovsky in addition to orchestral works by Dvořak and Smetana.

Disc 1

Keyboard Concerto in D major, Hob.XVIII:11

(more info)

Performed by: Scottish Chamber Orchestra Camerata Cassovia Vienna Concert Society
Composed by: Franz Joseph Haydn
Conducted by: Robert Stankovsky Gerard Schwarz
Hae Won Chang, piano
Xiangyu Chang, piano
Paul Badura-Skoda,
Christine Schornsheim, piano
Carol Rosenberger, piano
Mary Utiger, violin
Recording date: 7-12 September 1992

I. Vivace - 7:45
II. Un poco adagio - 7:11
III. Rondo all'ungarese: Allegro assai - 4:55

Piano Concerto No. 20 in D minor, K. 466

(more info)

Performed by: Innsbruck Symphony Orchestra Salzburg Mozarteum Orchestra London Mozart Players Concentus Hungaricus Philharmonia Cassovia Moscow Chamber Orchestra Capella Istropolitana West German Radio Symphony Orchestra Academy of St. Martin in the Fields Orchestra
Composed by: Wolfgang Amadeus Mozart Neville Marriner Peter Breiner
Conducted by: Ivor Bolton Otakar Trihlik Howard Griffiths Andras Ligeti Robert Wagner Christoph Eberle Constantine Orbelian
Jeno Jando, piano
Felicja Blumental,
Christophe Coin,
Howard Shelley, piano
Peter Lang, piano
Michael Rische, piano
Carol Rosenberger, piano
Lars Vogt, piano
Patrick Cohen, piano
Ivan Moravec, piano

Piano Concerto No. 21 in C major, K. 467, "Elvira Madigan"

(more info)

Performed by: Wroclaw Chamber Orchestra Leopoldinum London Mozart Players Mozart Festival Orchestra Zurich Chamber Orchestra Concentus Hungaricus Prague Chamber Orchestra Moscow Chamber Orchestra Capella Istropolitana CBC Radio Orchestra Vienna Mozart Orchestra Nuremberg Symphony Orchestra Cappella Coloniensis
Composed by: Wolfgang Amadeus Mozart Fazil Say
Conducted by: Marco Bertone Mario Bernardi Howard Griffiths Nicholas Kraemer Konrad Leitner Andras Ligeti Christoph Eberle Matyas Antal Constantine Orbelian Herbert Kraus Alexander von Pitamio
Jan Stanienda, violin
Ewa Poblocka, piano
Jon Kimura Parker, piano
Jeno Jando, piano
Christophe Coin,
Howard Shelley, piano
Peter Lang, piano
Paul Badura-Skoda,
Carol Rosenberger, piano
Linda Nicholson, fortepiano
Patrick Cohen, piano
Vilmos Fischer, piano

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Composer(s):
Haydn, Franz Joseph; Mozart, Wolfgang Amadeus

Conductor(s):
Ligeti, Andras; Stankovsky, Robert

Orchestra(s):
Camerata Cassovia; Concentus Hungaricus

Artist(s):
Chang, Hae Won; Jando, Jeno

Label: Naxos Classics
UPC: 730099426527
Item Number: 8553265