Complete Wind Concerti
Clarinet Concerto in A Major, K. 622
[1] Allegro
[2] Adagio
[3] Rondo: Allegro
ERIC HOEPRICH, basset clarinet
Flute Concerto in G Major, K. 313
[10] Allegro aperto
[11] Adagio non troppo
[12] Rondo (Tempo di menuetto)
SANDRA MILLER, flute
Bassoon Concerto in 8-flat Major.
K. 191
[4] Allegro
[5] Andante ma adagio
[6] Rondo: Tempo di menuetto
DENNIS GODBURN, bassoon
Flute Concerto in D Major, K. 314
[13] Allegro aperto
[14] Andante ma non troppo
[15] Allegro
SANDRA MILLER, flute
Oboe Concerto in C Major, K. 314 (285d)
[7] Allegro aperto
[8] Andante ma non troppo
[9] Allegro
MARC SCHACHMAN, oboe
Concerto in C Major, K. 299-for
Flute & Harp
[16] Allegro
[17] Andantino
[18] Rondo: Allegro
SANDRA MILLER, flute; VICTORIA DRAKE, harp
Horn Concerto in E-flat Major, K.
417
[19] Allegro
[20] (Andante)
[21] Rondo - Allegro
Horn Concerto in D Major, K. 412
(386 b)
[28] Allegro
[29] Rondo - Allegro
Revised instrumentation:
Robert D. Levin, 1993
Horn Concerto in E-flat Major, K.
447
[22] Allegro
[23] Romance - Larghetto
[24] Allegro
Horn Concerto in E-flat Major, K.
495
[25] Allegro maestoso
[26] Romance - Andante cantabile
[27] Rondo - Allegro vivace
Horn Concerto in E-flat Major, K. 370b/371
[30] (Allegro)
[31] Rondo - Allegro
Completed by Robert D. Levin, 1993
Rondo - Allegro of Concerto K. 412
[32]With Mozart's written comments to Leutgeb
Voice: Eric Dillner
R.J. Kelley, horn
THOMAS CRAWFORD
FOUNDED the Orchestra of the Old Fairfield Academy in 1986, Connecticut's first regularly performing historical instrument ensemble. Mr. Crawford is active in numerous musical disciplines, as composer, conductor and organist. He has distinguished himself as a composer in all idioms and has been especially prolific in vocal music. As conductor, Mr. Crawford is both a champion of new American music as well as informed performance styles of the Baroque and Classical repertoire.
THE
ORCHESTRA OF THE OLD FAIRFIELD ACADEMY has recorded the complete Mozart Wind Concerti using the orchestra's principals as soloists. These recordings mark the first comprehensive survey of the concerti by an American period instrument ensemble and conductor. Research into various sources has produced some unique material and instruments for use in these recordings. Two first-time recordings of horn music are presented. All cadenzas are written or improvised by the soloists.
Mozart’s Clarinet Concerto, his last and certainly among the finest concertos he wrote, was written for his friend and fellow mason, Anton Stadler. The manuscript has disappeared, but a great deal of information has come to light in the last few years which completely changes our view of the work.
The most important point is that Stadler possessed a special clarinet, the "basset clarinet", which had an extended lower range, so he was able to play four semitones lower than a normal clarinet. Mozart made extensive use of these low notes throughout the concerto. It turns out that Stadler had a clarinet like this as early as 1789 when Mozart wrote the Clarinet Quintet, K. 581 and Cosi Fan Tutte, works which also call for a clarinet with additional low notes. In performing a re-construction of the Clarinet Concerto as a work for the basset clarinet, it is necessary to know where these low notes should be played. In the case of the music, we can rely on two sources: Mozart's early sketch of the concerto's first 199 bars is preserved in Vienna, and the review of the first edition of the work ( arranged for an ordinary clarinet) on an article in the Allgemeine Musikalisches Zeitung where a critic who heard Stadler
perform the concerto cites all the specific bars where Stadler played an octave lower than the newly published scores show. The best source for determining what Stadler's basset clarinet looked like came to light only recently in Riga where Stadler performed the concerto· in 1794. A program for that concert has survived and was unearthed by the musicologist Pamela Poulin in 1993. Miraculously, in the program there is an engraving of Stadler's basset clarinet. The shape of the instrument comes as a surprise as it is fitted at the lower end with a bulbous bell attached at an angle of 90°, similar to that of an oboe d'amore, and has a curved barrel at the top. Last year I built a reconstruction of the instrument based on the engraving and it is used on the present recording.
The Concerto for Basset Clarinet, K. 622, the last major work Mozart completed, was finished in Vienna in October, 179 I. On November 18th, Mozart conducted a performance of the Masonic Cantata, K. 623, which he had just finished, fell ill two days later, and died on December 5th. It is likely he never heard the concerto performed.
- Eric Hoeprich
The Bassoon Concerto K. 191 was Mozart's first concerto for solo wind, completed June 4, 1774. Unlike the Clarinet Concerto of the Viennese Mozart in his last days, the Bassoon Concerto pays playful homage to two of his teenage travel encounters, Johann Christian Bach in London, and Mannheim's Johann Schobert. Nevertheless, the work must have been a great challenge to a player of the type of bassoon used in Salzburg in 1774. The range and dexterity required are quite extraordinary. The expressivity of the second movement, where the bassoon is asked for a lyrical aria, would only have been known in one or two examples from mature Haydn. Over two centuries later, the Bassoon and Clarinet Concerti are among the most demanding and expressive works in the repertoire of modern players as well.
- Thomas Crawford
The 2 Kochel listings for this Concerto only hint at its somewhat confusing origins. What is clear is that the Concerto (in C Major for the oboe) is virtually the same piece as the Concerto in D Major for flute. Inasmuch as an autograph does not exist for either version, theinstrumentation of the "original" as well as the conditions surrounding its composition have been a fertile subject for musicologists and music historians alike.
The current prevailing theories give the oboe version primacy, though their exponents introduce many further questions as to the proper "text" (there are many discrepancies between the two versions in matters of notes, dynamics, articulation, and even tempo markings). Since this recording project includes performances of the work on both flute and oboe, the decision was made to respect the differences in source material between the two versions, using the New Mozart Edition as a basis. I have thus allowed myself to be influenced by the musicologists connected with that edition, while at the same time refusing to be bound by their decision.
The account of Mozart’s life between April 1, 1777 (the date of the arrival in Salzburg of the Italian oboist, Giuseppe Feriendis, for whom the concerto was probably written) and February 15, 1778 (the date of the Dutch amateur flutist De Jean's departure for Paris, presumably with his commission of Mozart's works only partially complete and including the D Major version of K. 314) gives a fascinating insight into the day to day workings of the 20 year-old composer. From a letter to his father written in Mannheim and dated November 4, 1777, " ...the oboist, whose name I have forgotten (Ramm) but who plays very well and has a
delightfully pure tone. I have made him a present of my oboe concerto, which is being copied in a room at Cannabich's house, and the fellow is quite crazy with delight". Then, on December 3rd, "Ramm, the oboist who plays so beautifully is a worthy enjoyable, honest man, about 35 years old, who has traveled widely and gained much experience". Finally, on February 14, 1778, "Yesterday there was a concert at Cannabich's where all the music was of my composition, except the 1st symphony, which was his own. Mlle. Rosa played my Concerto in B-flat, then Herr Ramm (by way of a change) played for the fifth time my oboe concerto written for Feriendis, which is making a great sensation here. It is now Ramm's cheval de bataille." In the meantime Mozart had accepted the famous commission from De Jean to write "3 short concertos and 2 quartets" for the flute, and failing to fully complete the commission before the Dutchman's trip to Paris (he was paid only 96fl instead of the promised 200fl) he delivered to De Jean the G Major Concerto (K. 3 I 3 or 285c), the Andante in C (K, 315 or 285e) and the D Major version of the Oboe Concerto (K. 314 or 285d) reworked for the flute.
surrounding the Concerto's creation, there are a number of musical observations that support the theory that the piece was originally written for the oboe and later transposed for the flute. It is noteworthy that the range of the writing of the solo part ("c to d") corresponds exactly to the conventional range of the oboe in Mozart's time, whereas, with the transposition, the solo flute part never goes beyond "e". Mozart's flute had an upper range that extended to "f, f#, and g" and he uses those notes frequently in the G Major flute concerto (K. 313). At the same time the writing for the orchestral violins in the flute version never goes below an "a" while in the oboe version the violins extend down to the customary "g". Finally, in an episode in the third movement "Rondo" there is an obvious error in a contrapuntal entrance of the strings which is preserved in the old MozartAusgabe of the flute version. This passage is rendered correctly in the oboe version (and in the flute version for this recording project).
In addition to the preceding chronology and plausible recreation of the circumstances
The parts that were used as a basis for the oboe version were discovered in the Mozarteum in Salzburg in 1920 by Bernard Paumgartner and first published by Boosey and Hawkes in 1948. The first edition of the Kochel listings mentions a copy of the parts
for the version for flute in the archive of the Gesellschaft der Musikfreunde in Vienna (no mention is made of a setting for oboe). Other than these two 18th-century sets of parts there are no other known sources, a situation that insures, at least for the time being, that the true story surrounding this wonderful concerto cannot be told with complete certainty.
- Marc Schachman
August, 1996
The long Maestoso movement which opens the G Major Concerto demonstrates Mozart's maturing sense of time, and explores the capabilities of the flute" with great skill. The commissioner of the work, amateur flutist Ferdinand Dejean, must have been pleased with the gorgeous Adagio, which changes color dramatically by substituting two orchestra flutes for the oboes and using muted strings. The innocent sounding French Rondo has rhythmic quips and comical dialogue. Mozart adapted his C Major Oboe Concerto for flute in 1778, perhaps at the request of Dejean, who undoubtedly heard the popular work in Mannheim. Or perhaps Dejean's commission for three easy concertos and two flute quartets was onerous for Mozart, and his request that Leopold send the Oboe.
Concerto to Mannheim" may have carried more than just a motive to perform it there. Wolfgang's G Major Flute Concerto was surely more than Dejean expected, or could it be that he was annoyed that it was too difficult for him to play? During this time, Mozart was infatuated with his first love, Aloysia Weber, among other distractions and excuses which he used to explain his delays. Whatever the reason, Dejean never paid Mozart the full commission fee for the concertos and quartets.
The beloved Flute and Harp Concerto, like all of the wind concerti, was created out of a number of professional and financial obligations. Written in Paris in 1778 on commission from the Comte de Guines, himself an accomplished flutist, and his daughter, whose harp playing Mozart described as "magnifique", the doubleconcerto had "strings attached" before the first notes were written. The Duc's daughter was also a composition student of Mozart's, but in a letter to his father, Mozart summed up her talents thus: "she will never be a composer". Perhaps the master's opinion slipped out to her distinguished father, or the Comte de Guines may have been dissatisfied with the solo parts of the concerto, because the commission fee was never paid.
Mozart's flute concerti hold a unique place among his compositions for their appealing textures and affection for the soloist. They were composed at a time when he was travelling, job hunting, falling in love, and assimilating the styles of many nations.
The pedal harp is so named because it is equipped with seven pedals, one for each note of the scale. The A pedal controls all the A strings, the B pedal all the B strings, and so on.
The pedal harp was developed in Bavaria by Simon Hochbrucker between 1690 and l720. By 1740 it had been introduced to Paris, where it quickly became the instrument of fashion among the well-to-do.
The early pedal harps are known as "single action" because the pedal mechanism is capable of raising the pitch of each string by one half-step, for example A-flat to A. The pedal harp which was developed around 1811 (and is of the type still in use) is capable of raising the pitch of each string by two halfsteps, from A-flat to A to A#. They are therefore referred to as double-action harps.
was fragile and nearly impossible to regulate. As of this recording, none are known to survive in good enough condition to be used for a performance of the Mozart Concerto.
The harp used in the present recording is a 42-string single action harp built by Domeny in Paris in 1831. It is quite similar to the type of pedal harp introduced by Erard in 1791. While some features of the design survive in modem pedal harps, this harp is considerably smaller and lighter than the familiar orchestral harp, and has thinner and lowertensioned strings. The overall sound is warm and transparent, well suited to the music of the period.
The harp is in the collection of Paul Knoke of Rochester, New York.
-David I. Schuster
The most important makers of the early pedal harp were Naderman and his rival Cousineau. Unfortunately, the mechanism
Mozart tailored his arias and concerti to the specific abilities of his soloists. In the eighteenth century, composers seemed to adhere to the adage that the better the soloist sounded, the greater the benefit to the composer -- an attitude whose gradual fall from favor began with Beethoven. In the case of Mozart's horn works, we can distinguish the musicians for whom individual pieces were written by the range
and type of writing they contain.
Mozart's first work to demand ambitious chromatic writing for the horn is the Divertimento in D, K. 131 of 1772, which calls for four horns. It was to be almost nine years, however, before he was to write a horn concerto. During the trip from Salzburg to Vienna that Mozart undertook in 1781 as part of Archbishop Colloredo's retinue, Mozart seems to have met the hornist Jacob Eisen (1756-1796). In March 1781 he drafted a twomovement concerto in E-flat major for Eisen. It is probable that the entire horn part of the first movement was written, out. However, the scoring is limited to sketching during orchestral sections and to an occasional contrapuntal passage. This is Mozart's characteristic way of reminding himself of his concept in order to save time for the later task of filling in the orchestration. Alas, Mozart was never to get to that phase in this concerto. Its first movement, K. 370b, was cut up in pieces by Mozart's son Carl, so that part of the recapitulation is missing. The second movement is commonly known as the Concert Rondo in E-flat, K. 37 I. Mozart's draft was long ago scored up in a version that conflicts with many elements of his style and grammar; but this has not prevented the piece from becoming a staple of concerts and recordings. What is utterly remarkable is
that a double leaf containing 60 measures of the autograph (comprising virtually the entire exposition!) became separated from the rest of the manuscript some time between Mozart's death and 1799 and did not surface until 1990, when it was purchased at a Sotheby's auction and is now reunited with the rest of the movement at the Pierpont Morgan Library in New York. The complete draft has yet to appear in print; a first instrumentation of the entire work, prepared by Erik Smith, appeared in a 1991 recording. My orchestration was undertaken with a belief that Mozart is likely to have used a more transparent and simpler scoring.
Apart from a concerto fragment in E major, the rest of Mozart's horn concerti were written for Joseph Leutgeb ( 1732-1811 ), whom the Mozart family knew in Salzburg and whose virtuosity on the horn was known in Paris as well as Vienna. Leutgeb opened a cheese shop in Vienna and was the butt of constant jokes from Mozart, who composed his Horn Quintet in E-flat, K. 407/386c and four concerti for Leutgeb. The first of these is the one commonly called the Concerto No. 2, K. 417. It is in E-flat major, considered in the 18th century to be the best key for the natural horn because of the crook size used. The concerto is dated as follows: "Wolfgang Amade Mozart has taken pity upon the ass,
ox and fool Leutgeb, in Vienna on May 27, 1783." The score calls for pairs of oboes and horns, and strings. The differences between Eisen's and Leutgeb's techniques is immediately apparent. Whereas Eisen played down to low C in the bass clef (sounding Eflat), no work for Leutgeb goes below the G, a fifth above that (sounding 8-flat) and its muted tone F-sharp (sounding A-natural). On the other hand, Leutgeb has a good high register, easily playing fast one-octave scales to written high C (sounding E-flat); these are missing in the music for Eisen and in the horn part to the Quintet Piano and Wind instruments in E-flat, K. 452 (1784).
Three years after K. 417 Mozart wrote another concerto for Leutgeb, again in E-flat -- the so-called Concerto No. 4, K. 495. The autograph is written in four different colors of ink (black, blue, and red and green). Traditionally taken as a joke, it has been claimed by Franz Giegling, editor of the Horn Concerti for the New Mozart-Edition (Neue Mozart-Ausgabe) that Mozart was using an elegant color code to indicate the importance and coloring of the individual passages. The concerto is dated June 26, 1786 in Mozart's autograph thematic catalogue ("A Waldhorn Concerto for Leutgeb"), but not all of the manuscript has come down to us, and the first movement
survives in three different versions (218, 175 and 229, bars long), and of which the first is the one commonly performed. Like K. in the 417, K. 495 first movement in B-flat and a rollicking 6/8 hunting-horn finale.
Mozart seems to have written Leutgeb another concerto about a year later (1787); this work, the Concerto No. 3, was dated 1783 by Kochel and given the number K. 447 because Mozart did not include it in his thematic catalogue, whose first entry (K. 449) is February 9, 1784. However, there are a number of other works omitted by Mozart from the catalogue, and paper and handwriting studies of Alan Tyson and Wolfgang Plath have suggested the 1787 dating. Leutgeb’s name appears in the autograph at two spots in the Finale. There is a significant evolution in the language of K. 447, and in its scoring and writing. Instead of oboes and horns, Mozart prescribes clarinets and bassoons, giving the solo horn more timbral focus. The middle movement, a Romance in A-flat, is more substantial than those of K. 417 and K. 495, and the harmonic language, particularly of the first movement, shows an audacity and personal voice that reflect the post-Figaro development of Mozart's style. It also reflects the beginning of the decline in Leutgeb's technique. He was 55 in 1787 and
apparently no longer able to dash off the octave scales of his prime: Mozart cuts the top register down a third to written A (sounding C) and skillfully allows the orchestra to play animated music while the horn moves from long note to long note (the development of the first movement).
In 1791, the year of his death, Mozart began a last concerto for Leutgeb, this time in D major. This work, known as Concerto No. 1 (K. 412), underwent a series of stages. Mozart seems to have drafted its two movements before discovering that at 59 years old, Leutgeb was no longer able to play low notes. He therefore revised the first movement to bring it within the melodic compass of a ninth in mid-register. However, Mozart died before carrying out this process on the Rondo, which contains the same low notes as the previous three concerti. Thus, it remained a draft like the Concert Rondo, K. 371. The manuscript contains running insults to Leutgeb, and the horn part is labeled Adagio to the orchestra's Allegro. It was left to Mozart's amanuenis Franz Xaver SuBmayr (1766-1803), whose primary claim to fame is his completion of the Requiem, K. 626, to rewrite Mozart's draft so that Leutgeb could play it. In doing so, SuBmayr inexplicably ignored Mozart's accompaniment, replacing it with a coarser texture replete with
grammatical errors. Furthermore, SuBmayr overlooked Mozart's wind scoring for the first movement -- oboes and bassoons. (This was easy to do, because for most of the movement the winds were notated on a separate piece of paper.) SuBmayr used only oboes in the Finale. Most remarkable of all, he substantially rewrote not just the solo horn part, but the entire movement. Particularly striking is the inclusion of a quotation from the Gregorian Chant of the Lamentations of Jeremiah, which is traditionally sung on Good Friday. SuBmayr's autograph of the movement, which dated Good Friday, April 6, 1792, was misread by Kochel as 1797. Assuming the manuscript to be Mozart's handwriting, Kochel took the year for a joke and and redated the work April 6, 1787, because that was the only year in Mozart's lifetime that Good Friday fell on April 6. That is the origin of the number K. 514 that traditionally has been given to the Rondo. It was the British musicologist Alan Tyson who revealed in 1980 that Mozart's completed first movement and draft of the second were on paper from 1790/1791, that the completion of the Rondo is by SuBmayr, and that its true dating is 1792.
Today's hornist is not bound by Leutgeb's lack of teeth, so that it seemed legitimate to restore the passage in the first movement
that contains the low notes Leutgeb apparently wanted removed. This gives the two movements the same range. I have supplied a new instrumentation of the Rondo with the proper scoring, again trying to avoid overly busy or fancy textures.
-© 1993 Robert D. Levin
The present recording includes Mozart's original conception of the Rondo, with comical horn figures and the composer's sardonic dialogue written throughout the manuscript.
-Thomas
Crawford
MOZART'S NOTES TO LEUTGEB:
A lei Signor Asino
presto, su via, da bravo coraggio e finisci gia?
a te, bestia oh che stonature Ahi! ohime! bravo poveretto
Oh, seccata di Coglioni!
Oh Dio che velocita! ah che mi fai ridere!
respira un poco! avanti, avanti questo poi va al meglio
e non finisci nemmeno?
A Porco infame! oh come sei grazioso!
Carino! asinino! ha ha ha respira! ma intoni almeno una, Cazzo!
e viva! e vieni a seccarmi per la quarta e Dio sia benedetto per l'ultima volta ah termina, ti prego! oh maledetto !
anche bravura? Bravo! ah tri II o da beccare ! finisci? grazie al ciel ! basta, basta!
To you (here you go) Mr. Ass come on, move it, be nice, courage are you done already? to you (here) beast (animal [imprecations]) oh what dissonance oh, poor me, good, poor guy! Oh what bore to [my] balls [not Italian ... ] Oh God what speed! you make me laugh breathe a little go on, go on, this will get to the best part you don't even finish? Ah dirty pig [commen insult] oh you are so gracious cute! little ass! [laughter] breathe! but play at least one in tune, [ dick] for God's sake hurray! and he comes to me for the fourth God bless for the last time oh, finish, please! oh, cursed one [an insult] even virtuosity? Good! ah, a pecking trill you are finishing? Thank God! enough!
Sandra Miller, flute
Sandra Miller is well known as a soloist, chamber musician and orchestral player, on Baroque, Classical and modern flutes. A native of Philadelphia and a graduate of the Curtis Institute of Music, she has been the recipient of a Solo Recitalist's Fellowship from the National Endowment for the Arts, First Prize in the Bodky Competition for Early Music, and a New York recital debut sponsored by the Concert Artists Guild. Ms. Miller has toured the United States, England, Germany, Canada, and Mexico with Concert Royal, of which she is Associate Director, and has given masterclasses throughout the US and in Brazil as the recipient of a travel grant from the Brazilian-American Institute in Rio de Janeiro. In addition to solo recitals Ms. Miller has appeared as soloist with the Smithsonian Chamber Players, American Bach Soloists, the Orchestra of the Old Fairfield Academy and the Boston Early Music Festival Orchestra; and as principal flutist with the American Symphony Orchestra and the New York City Ballet, among others. Ms. Miller is currently Professor of Music at the Purchase College Conservatory of Music, and Kulas Visiting Artist at Case Western Reserve University in Cleveland; she is, in addition, a member of the faculties of the Mannes College of Music and Temple University. Her recordings well
include the complete chamber music for flute of J.S. Bach, on the Titanic label, as well as performances on Nonesuch, Newport Classics, and Koch International.
Victoria Drake, harp
Harpist Victoria Drake has appeared as soloist with some of the Northeast's most notable orchestras including Philharmonia Virtuosi, the Mid-Atlantic Chamber Orchestra, the St. Cecelia Chamber Orchestra, the Prince William Symphony and the Fairfield Orchestra. She has also been featured soloist at such summer festivals as the Vermont Mozart Festival, Harkness Summer Music in Connecticut, and with the North Country Chamber Players in New Hampshire. She has recently performed and recorded Wagner's Die Meistersinger von Nurnberg with the Chicago Symphony Orchestra under Sir Georg Solti. She is also a member of Elysian, a trio of flute, 'cello and harp, which will debut in 1997 at Weill Recital Hall at Carnegie Hall under the auspices of Artists International.
Her interest in expanding the harp's solo repertoire has led to three recordings on the Well-Tempered Productions label: Harping on Bach (her own transcriptions of Bach for solo harp), the critically acclaimed Scarlatti's Harp (transcriptions of keyboard sonatas),
and the recently released Spanish Gold (original and transcribed works of Albeniz, Granados, de Falla, Mompou and others).
Victoria Drake appears courtesy of WellTempered Productions.
Eric Hoeprich, clarinet
Eric Hoeprich studied at Harvard University (A.B. cum Laude, 1976) and the Royal Conservatory of Music in the Hague (Solodiploma, 1981 ). He now teaches at the Royal Conservatory in The Hague and has been principal clarinet in the Orchestra of the 18th Century since it was founded by Frans Bruggen in 1982.
Mr. Hoeprich is a founding member of several chamber music ensembles and also performs with the English fortepianist Melvyn Tan, and as a guest artist with chamber ensembles such as the Salomon Quartet, Artaria Quartet, Festitecs Quartet, "Les Adieux", Aston Magna (including a recent recording of the Schubert Octet on Harmonia Mundi), Turner Quartet and with the Da Camara Society in Houston.
His interest in antique instruments has led Mr. Hoeprich to a mass collection of 18th and 19th century clarinets which he uses often in performance. Of particular interest are a clarinet by the same maker as the instrument used by Heinrich Baermann for whom Carl Maria von Weber wrote his Clarinet Concerti , Op. 73 and 74, and the first replica (self-made) of the basset clarinet used by Anton Stadler for whom Mozart composed his Clarinet Concerto, K. 622 and Clarinet Quintet, K. 581. When it is not possible to use one of his antique clarinets, he plays on replicas which he makes himself. He has also published several articles on various aspects of the historical clarinet in
Mr. Hoeprich appears often with the Orchestra of the 18th Century as soloist, as well as other early music ensembles such as London Classical Players (Norrington), Musica Antiqua Koln (Goebel), l'Orchestre des Champs-Elysees (Herreweghe), Taverner Players (Parrott). The Academy of Ancient Music (Hogwood), Tafelmusik (Weil), Orchestra of the Old Fairfield Academy and Philharmonia Baroque Orchestra (McGegan), as well as with several modern chamber orchestras including the Gulbenkian Chamber Orchestra in Lisbon. His solo activities have taken him around the world, from San Francisco to Tokyo and from Paris to Sydney. The labels on which Mr. Hoeprich has recorded include Philips, Archiv-Deutsch Grammophon, EMI, Harmonia Mundi, Deca/L'Oiseau Lyre, Sony, Denon, Erato, Teldec, Globe and Accent.
Early Music (Oxford University Press), Galpin Society Journal and Tibia, and he has lectured at Oxford and Cambridge Universities, Laval University of Arizona, the Beethoven Center in San Jose and the conservatories of Brussels, Oslo, Wurzburg, Costa Rica and San Francisco.
R.J. Kelley, horn
Marc Schachman, oboe
Marc Schachman was born in Berkeley, California, and received his education at Stanford University and the Juilliard School, where he was awarded the B.S., M.S., and D.M.A. degrees. He is a founding member of two of America's foremost "original instrument" chamber groups, the Aulos Ensemble (1973) and the Amadeus Winds (1983). In addition to the Orchestra of the Old Fairfield Academy, he has appeared as principal oboe and soloist with many of the country's leading early-instrument orchestras, including Philharmonia Baroque (San Francisco), Handel and Haydn Society and Boston Baroque, Mostly Mozart on Original Instruments (New York), Smithsonian Chamber Orchestra, and the
R.J. Kelley has performed throughout North America and Europe as soloist, chamber musician, and orchestral player. A first prize winner and former adjudicator of the American Horn Competition, he is currently principal horn of Philharmonia Baroque Orchestra (San Francisco), the Orchestra of the Old Fairfield Academy (CT), the Apollo Ensemble (NY), the Portland Baroque Orchestra (OR), the Philadelphia Classical Symphony, Clarion Concerts (NYC), and Magnificat (San Francisco), among others. Mr. Kelley is also the founder/director of Zephyr's Choice, a baroque wind band, and has performed/recorded with the Amadeus Winds, Helicon, the Smithson Quartet, Tafelmusik, the Royal Court Theater Orchestra of Drottningholm (Sweden), the Governor's Musicke, the Arcadian Ensemble, the Danzi Trio, Vineyard Musicke, Artek, the Classical Band, the Smithsonian Chamber Orchestra, the Bach Ensemble, Concert Royal, CBC Vancouver, the Handel and Haydn Society, the Grande Bande, the American Classical Soloists, Chestnut Brass, and _ others. Other recent recordings include Beethoven's Septet and Sextet (MusicMasters), Bach's Mass in B Minor (Yox), and six Haydn Symphonies (Dorian). He also recorded for Harmonia Mundi USA, Sony, Decca, Newport Classics and Smithsonian Records. Mr. Kelley has also performed with the Duke Ellington Orchestra, the J.C. Heard Orchestra, the NoNo Nonette, the Neil Kirkwood Octet, and Hornsong (a jazz horn quartet).
Boston Early Music Festival Orchestra. His numerous recordings on early oboes cover a wide variety of styles and genres, including the Mozart Oboe Quartet and Bach Cantatas for Harmonia Mundi, Concerti and Chamber music of Bach, Handel, Telemann, and Vivaldi (Autos Ensemble/MHS, MusicMasters), Wind music of Mozart and Beethoven (Amadeus Winds/L'Oiseau Lyre, Sony), Bach's Brandenburg Concerti (Boston Baroque/Telarc) and Schubert symphonies (Classical Band/Sony). His most recent releases include Vivaldi Concerti with Philharmonia (Reference Records) and Schumann Romances for Oboe and piano (Helicon). In 1994 at the suggestion of Albert Fuller, Mr. Schachman formed the Helicon Winds, America's first wind quintet performing on original instruments. Mr. Schachman is on the faculty of Vassar College and has given workshops on old oboes and performance styles at colleges and universities throughout the U.S. As a performer on the modern oboe, he appears with groups including the Orchestra of St. Luke's and the New York Chamber Soloists. He has performed at summer festivals throughout the world, including Spoleto, Ravinia, Edinburgh, Tanglewood, Mostly Mozart, and the Festival of Perth.
Dennis L. Godburn, bassoon Dennis Godburn pursues a distinguished career as a performer of baroque, classical and modern bassoon, concertizing throughout the United States, Europe, Japan and South America.
Mr. Godburn has served as the principal bassoonist for the Orchestra of St. Luke's since 1976 and has performed with the Orpheus Chamber Orchestra, Metropolitan Opera, New England Bach Festival, Boston Early Music Festival Orchestra, Handel and Haydn Society, Orchestra of the Old Fairfield Academy, Waverly Consort, Philharmonia Baroque and The Classical Band, among others. He has appeared as soloist on the Great Performers Series at Lincoln Center, the Mostly Mozart Festival, Ravinia Festival, Kennedy Center and the Boston Early Music Festival.
Mr. Godburn can be heard in recordings spanning medieval to contemporary repertoire on Angel, Sony Classics, L'Oiseau Lyre, Telarc, Columbia Masterworks, Harmonia Mundi, BMI and Deutsche Grammophon.
He serves on the faculties of the University of Massachusetts at Amherst, SUNY Stony Brook and the Manhattan School of Music.
VIOLINS
Linda Quan - G.B. Roge
ri, Italian 1639
Lisa Brooke - Bohemian, c. 1760
Aloysia Friedmann - Nicolai Gagliano, Italian 1763
Judson Griffin - School of Cappa, Northern Italian c. I 760
Karl Kawahara - James Radforn Coggin, after Cremonese School 1982
Peter Kupfer - Italian, Mantua c. 1780
Gretchen Paxson - Sebastian Kloz, Mittenwald 1745
Lisa Rautenberg - Christophe Landon, after Guarinarius de! Gesu 1987
VIOLAS
David Miller - Matthias Albani, Bolzazo-Tyrol 1687
Andrea Andros - Paola Antonio Testori, Milan 1754
'CELLOS
Myron Lutzke -
Loretta O'Sullivan - Peter Wamsley, English 1720
BASS
Michael Willens - Max Straub 1775, Switzerland
FLUTES
Sandra Miller - Rod Cameron, after Heinrich Grenser 1790
Anne Briggs - Rod Cameron, after Heinrich Grenser 1790
OBOES
Marc Schachman - Sand Dalton, after Grundman-Floth 1993
Sarah Davol - Sand Dalton, after Grundman-Floth 1993
Lani Spahr - Sand Dalton, after Grundman-Floth 1993
CLARINETS
Charles Neidich - RudolfTutz, Innsbruch, Austria -- after Grenser 1810
Michael Sussman - RudolfTutz, Innsbruch, Austria -- after Grenser 1810
Ayako Neidich - RudolfTutz, Innsbruch, Austria --- after Grenser 1810
BASSOONS
Dennis Godburn - Peter de Koningh, Netherlands, after Heinrich Grenser 1985
Andrew Schwartz - Peter de Koningh, Netherlands, after Heinrich Grenser 1985
HORNS
R.J. Kelley - Lowell Greer, 1993
Alex Cook - Lowell Greer, 1993
Scott Temple - Richard Seraphinoff, after 1810 Raoux 1989
PRODUCED AND ENGINEERED BY: GREGORY K. SQUIRES
Mastered by: Wayne Hileman, Squires Productions Inc.
Digital Editing by: Wayne Hileman
Production Assistance by: Phyllis Lanin
Liner notes from "Mozart: Rondo and Horn Concertos" Sony Classical SK 53369
Reprinted by kind permission.
Cover Art: Barber print courtesy of Fairfield Historical Society, Fairfield, CT
The Orchestra Of the Old Fairfield Academy is an ensemble of leading period instrumentalists based in New York City and the surrounding metropolitan area. Founded om 1986 in nearby Connecticut by the Music Director Thomas Crawford, the Orchestra has appeared since then in several New York and Connecticut early instrument series including Lincoln Center’s Great Performers Series.
The Old Academy, erected in the town of Fairfield, Connecticut in 1804, is an excellent example of Federal Period architecture in New England. It is evocative of the art and music of the 18th century, and it is for this that the orchestra is named.
