Thursday, May 18, 2017

Interview April 2017: 10 Questions with D. McCaldin


Denis McCaldin: Official Sites
Denis McCaldin Official Site: Haydn Society of Great Britain
Denis McCaldin Official Site: Lancaster University
Denis McCaldin: Denis McCaldin LinkedIn (Official)
Denis McCaldin: Haydn Society Official Yahoo Group
Denis McCaldin: Haydn Society of Great Britain Twitter (Official)
Denis McCaldin: Haydn Society of Great Britain Facebook (Official)
Denis McCaldin: CD Haydn Nelson Mass
Denis McCaldin: CD Haydn Notturni & Scherzandi
Denis McCaldin: CD Haydn Little Organ Mass



1. On 24 March 2017 we are going to celebrate the second anniversary of a real historic moment: the unveiling of the first ever London Haydn Blue Plaque dedicated to the great composer J. Haydn in 2015. The relation between Haydn and London is of such fundamental importance for the history of music, however, as strange it may sound, it has been really difficult to reach such an achievement. And thanks to your brilliant leadership, this tribute of London to Haydn and his music has been made finally possible. What can you tell us about the long path that led to the unveiling of Haydn Blue Plaque in 2015? What’s the story behind the Blue Plaque Campaign?

The Society began modestly enough when a few performers and fellow music-lovers got together to review the likely celebrations in the UK of the 250th anniversary in 1982 of the composer’s birth. Finding no obvious point of co-ordination, they decided to form a Society to assist the celebrations and «with the principal aim of promoting a wider knowledge and understanding of the music of Joseph Haydn and his contemporaries». The group initially included the Delme String Quartet, Denis McCaldin (the present Director), Stephen Plaistow (BBC Radio 3), the composer Robert Simpson, and Erik Smith (record producer).

To sustain interest in the coming celebrations, the Society organised a Haydn Festival of Chamber Music in the summer of 1980 at Wigmore Hall in London. From July 1st – 10th, ten concerts, consisting entirely of works by the composer were given on consecutive evenings by the Pro Arte and Delme String Quartets, the Esterhazy Baryton Trio and individual guest soloists. A subsequent review in The Strad by Tim Alps raised the wider question of Haydn’s commercial appeal that still applies today:
«If it were not for the dedicated and enterprising Haydn Society of Great Britain it seems unlikely that an event such as the Haydn Festival of Chamber Music, which monopolised the Wigmore Hall for the first ten days of July would ever get off the ground. For despite Haydn’s unassailable position amongst the most venerable greats the fact remains, and it was borne out by the attendance at the concerts I sampled, that at the box office Haydn cannot compete with Mozart or Beethoven.»

Among the Society’s early supporters were Reginald Barrett-Ayres, Antal Dorati, Karl Geiringer, Antony van Hoboken and H.C. Robbins Landon, all of whom served on the initial Committee of Honour.
In 1992 the Newsletter was upgraded to a Journal, and in this format that we have since published papers by a number of distinguished colleagues including Colin Lawson, Crispian Steele-Perkins, Emmanuel Hurwitz, Otto Biba and Richard Wigmore.

The bicentenary of Haydn’s death in 2009 prompted celebrations of his music world-wide.
In particular, the Society became more closely associated with the Haydn Festspiele Eisenstadt through the invitation of its director Dr. Walter Reicher.

In partnership with the British Library, the Society also mounted a two-day international conference in London entitled Joseph Haydn and the Business of Music. A collection of the papers given at the time has since been published as a book entitled The Land of Opportunity – Joseph Haydn and Britain (The British Library Publishing Division, 2013).


As well as concerts and conferences the Society has also released several recordings on Meridian and Divine Art.

The Society’s most recent initiative has been to campaign for a memorial plaque in London. As long ago as 2002, negotiations began with Westminster City Council to site a plaque in Bury Street, where the composer resided during his second visit to London in 1794-1795.

More recently exploration and negotiation in Soho has led to agreement for a plaque to be established at 18, Great Pulteney Street. The plaque was unveiled there as a memorial to Haydn by Sir Neville Marriner on 24th March 2015. A video record of the event can be seen on the Haydn Society website at www.haydnsocietyofgb.co.uk.


It is good that such a memorial should be in London, a city where Haydn was admired and loved, and where he himself spent some of his happiest years.


__________________________________________________
THE HAYDN BLUE PLAQUE UNVEILING – 24 MARCH 2015
LONDON – 18, GREAT PULTENEY STREET
__________________________________________________

Video of the plaque unveiling, produced by The Haydn Society of Great Britain. Additional footage courtesy of Christopher Foster-Hicklin. Audio courtesy of the BBC. Photographs by Iona Wolff. The complete gallery is available at www.haydnsocietyofgb.co.uk.









2. Many people supported your initiative and campaign for the London Haydn Blue Plaque and your work has been also supported by many friends and collaborators. Do you want to remember someone in particular and especially for the commitment to the Haydn Blue Plaque Campaign?

Rather as in Bach’s day, when musical skills were passed down through the generations, my daughter Clare and her partner Cheyney Kent contributed the most in terms of energy and commitment. (see McCaldin Arts.com and her project Haydn’s London Ladies).




3. Thanks to your activity as director, the Haydn Society of Great Britain has always promoted the diffusion of the music by Joseph Haydn, also through events and media (BBC Radio 3), since 1982, as you have previously indicated, and, recently, also through a constant web presence. And what about your future plans?

Amongst other projects, we have been invited to collaborate with King’s College, London University to design an innovative course for music students using IT to explore aspects of Haydn’s life in England.


 
4. As Haydn Society of Great Britain, you have also conducted an interesting survey among scholars, Haydn advocates and enthusiasts and people in general about the attractiveness of Haydn’s music and the possible reasons for its comparative neglect. What are the conclusions of your survey so far?

We have discovered that the accessibility of Haydn’s music can be deceptive.
In schools, the apparent simplicity of some of the music and the programmatic stories attached, as in the Clock, and Surprise symphonies, means that the music is often treated as an introduction to classical music, rather than on the same level as other great works of the period.
The idea of Papa Haydn dies hard, and once established in a child’s memory, there is tendency for thoughts about both the man and his music to be permanently associated with immaturity and pre-adult life.

  
5. After the death of her husband, Constanze Mozart somehow acted as the high priestess of the cult of Mozart and, in this way, preserved Mozart’s legacy and promoted his myth. Do you think that the difficult marriage and the famous terribilis wife of Haydn must have played some role in the partial neglect, into which most of his music production fell during the 19th and the 20th century?

This maybe the case, but the deification of Mozart as a tragic artist was a strong element, as was the influence of the Romantic movement in general.



6. And a particularly interesting fact, on that process of deification of Mozart that you were talking about, is that, after 1791, in his letters, even Haydn himself began calling Mozart our immortal Mozart, and always received Constanze Mozart among his closest friends. In 1790s Haydn even actually actively promoted the purchasing and the publication of Mozart’s manuscripts and unpublished works… So, in conclusion, Haydn himself accepted that particular treatment of Mozart, supported Constanze Mozart’s activity and was among Mozart promoters! Certainly an important token of their long friendship, from such a generous and constructive man as Haydn!
                                                                    __________
You are also a conductor and you have also released a series of CD albums featuring Haydn’s music. As a conductor, what’s your personal approach to Haydn and to his music?

My main concern is to be loyal to the spirit of the music, and to project the essence of each movement in performances I direct.

This is often more difficult than it appears.

When we look at a Haydn score, the instrumentation can sometimes seem quite sparse, as though it lacks substance.

But any attempt on the part of the conductor to interpret the music, in an effort to compensate for this apparent deficiency, I find is generally counter-productive.


  
7. You have published also a series of important editions of Haydn’s sacred music, as an editor, through the Oxford University Press. Your Nelson Mass edition has been critically acclaimed. What have been your impressions and emotions, while directly working on the music by such a great Master of the History of Music. In your edition of Haydn’s Missa brevis Sancti Joannis de Deo you included also the elongated Gloria by his brother Michael Haydn. What do you think of the music by Joseph and Michael Haydn, when considered in comparison? What the differences?
Because I was able to work from the composer’s autograph score, the physical sight and contact with the Haydn’s handwriting – including his erasures and revisions – was very moving.
The hand-written manuscript was beautifully neat and clear.
                                                                    __________
Like many music lovers, I’m not as familiar with Michael Haydn’s works as I would like to be.
However, those which I have heard, such as his Requiem in C minor, strike me to be as fine as those of his brother.




8. What’s your favourite work by J. Haydn? And, thanks to your long experience, what’s, in general, the favourite work by J. Haydn, in people’s opinion?

This is a very difficult question to answer. It’s often the work I’m studying at the time. If I had to choose, it would be The Creation.
                                                                    __________
The Trumpet Concerto in E flat!

From lists of top choices in classical music that I have seen, the Trumpet Concerto by Haydn is always the first of Haydn’s works to be selected.




9. Beside Joseph and Michael Haydn, do you have in mind the name of some other neglected composer of the 18th century you’d like to see re-evaluated?

One is Wilhelm Herschel (1738-1822), a British contemporary of Haydn’s, a major astronomer, and a member of the Royal Society.

Another is the Italian Gaetano Brunetti (1744–1798), some of whose symphonies have been edited by Newell Jenkins.

  
10. Next 5-10 September 2017 you are organizing a wonderful journey to the places where Haydn worked, as lecturer with Martin Randall Travel. It will be possible to visit all the venues associated with Haydn, from Eisenstadt to Rohrau, Eszterháza and Vienna and to attend important concerts with internationally acclaimed orchestras and musicians, and in the very places, where Haydn himself worked, composed and performed his music. In your opinion, how important is to have a direct experience with the original places, to achieve a better comprehension of the music of such great composer.

Personally, I always like to visit the places where a composer lived and worked to explore their particular atmosphere and physical proportions.

In Haydn’s case, for example, the acoustics of the Haydnsaal in the Esterhazy Palace in Eisenstadt are unusually attractive, and this is rather surprising until it emerges that the composer insisted that the marble floor be covered in wood to achieve the acoustic he wanted for his orchestral concerts.

Finally, I would like to thank you for giving me the opportunity to contribute to your admirable publication.
I have enjoyed the chance to think about some of the reasons that I admire Haydn and his music.

Indeed, if I was offered one wish outside the present, it would be to spend an evening having dinner together.




Thank you very much for your invitation, we accept with great pleasure! And it’s sure our main dishes will be the Haydnian Esterházy Roast Beef and the Mozartian Chocolate & Marzipan Cake. Thank you very much for having taken the time to answer our questions!

Thank you!

 


Copyright © 2017 MozartCircle. All rights reserved.MozartCircle exclusive property. 
Iconography is in public domain or in fair use.

CD Spotlight April 2017: Vanhal: Sacred Works






Sacred Works

Selected Sacred Works by Vanhal
from his vast repertoire. Vanhal was a friend of Mozart
& Mozart used his Symphonies,
Concertos & Chamber Music
as Style reference.
Boni Pueri Boys Choir
Czech Chamber Philharmonic
Orchestra Pardubice
Marek Stryncl
ArcoDiva

Wednesday, April 5, 2017

Interview March 2017: 10 Questions with J. A. Montaño (English)



Lee esta entrevista en Español
José Antonio Montaño: Official Sites
José Antonio Montaño Official Site: José Antonio Montaño
José Antonio Montaño Official Site: La Madrileña Orchestra
José Antonio Montaño: José Antonio Montaño LinkedIn (Official)
José Antonio Montaño: José Antonio Montaño Twitter (Official)
José Antonio Montaño: José Antonio Montaño Facebook (Official)
José Antonio Montaño: José Antonio Montaño YouTube (Official)
José Antonio Montaño & La Madrileña: La Madrileña Twitter (Official)
José Antonio Montaño & La Madrileña: La Madrileña Facebook (Official)
José Antonio Montaño conducting Martín y Soler, Haydn & Mozart:







1. Thanks to your intense activity as conductor, artistic director, music scholar and critical editor, you managed to develop an important series of music projects on a very special Viennese triad: Mozart, Haydn and Martín y Soler. So you really re-create, this way, that special authentic Vienna musical atmosphere of the 1780s, when Haydn was already a papa and both Mozart and Martín y Soler (backed by those great librettos by Da Ponte) became the Theatre Opera Best Sellers from Vienna to Prague with their Nozze di Figaro, Una cosa rara, Don Giovanni and L’arbore di Diana, and Martín y Soler was so successful to become the favourite composer of the Imperial Court. What fascinated and fascinates you most about the music of Martín y Soler? And, in your opinion, what characteristics of his music and of his operas impressed and attracted the 18th century audience so much that Martín y Soler’s operas managed to receive such an extraordinary amount of theatre performances for that period (almost 100 performances only for Una cosa rara and the usual theatre income for 24 successful performances was ca. 20,000 florins, i.e. ca. 140,000 modern US dollars: Mozart’s annual Imperial salary was 800 florins, i.e. ca. 4,800 modern US dollars)?


Since my early years as a musical director, I have had the impulse to research and perform forgotten works by not-so-popular musicians such as La Contadina by Johann Adolph Hasse (1699-1783), the zarzuela Las labradoras de Murcia by Antonio Rodríguez de Hita (1724-1787) and the oratorio Il sacrifizio di Abramo by Camilla de Rossi (16??-1710). In this context and while I was studyig in-depth Spanish authors of the 17th and 18th centuries, Vicente Martín y Soler (1754-1806) appeared. It also coincided that back in 2006, when the Teatro Real de Madrid (Royal Theatre of Madrid), where I was working as conductor of its young orchestra Orquesta Escuela de la Orquesta Sinfónica de Madrid, decided to produce the opera Il Tutore Burlato (1775) on the occasion of the 200th death anniversary of Martín y Soler and therefore I had the chance to work in-depth on his music. It was in that very moment that I began studying his work and life more thoroughly.

Martín y Soler, Il Tutore Burlato, Overture


The first factor that has drawn me to Martín y Soler was that he, a Spanish composer, could enjoy such resounding success in Europe’s most prominent musical centres in the final years of the 18th century, and that he was, at the same time, in direct competition to musicians of the highest level such as Mozart himself, whom he even managed to surpass in popularity.

What I find fascinating about Martín y Soler also coincides with what I think was one of the keys to his success: to be a flexible and versatile musician who knew how to adapt himself and his music to the various trends and requirements that he had to face during the various and different (also geographical) situations of his life, be that in Spain, Italy, England, Russia or Vienna with their respective Italian, French and Russian operas.



A great example of this is what happened when the empress Catherine II of Russia requested the service of Vicente Martín y Soler, who was at that moment a highly acclaimed composer and a favourite of Joseph II in Vienna, where he was known, in his role of a successful and celebrated maestro, as lo Spagnuolo.

The czarina was not satisfied with the work of Domenico Cimarosa who was then maestro di cappella at the Imperial Court and whose duties included the composition of Italian operas and the new Russian opera which Catherine II wanted to empower. Martín y Soler knew how to adapt to his Russian operas and highly fulfilled what was expected of him.

On the other hand, thanks to this replacement, in 1791 Cimarosa reached Vienna where he occupied, for a few months, the position of court composer that was formerly deserted by Salieri, (a position also intensely desired by Mozart, dead by then), to conduct the premiere of Il Matrimonio segreto in February 1792 with resounding success, which is considered today his best opera and one of the best comic operas of that period. It is well known how, after the sudden death (by poisoning?) of the Austrian emperor Leopold in March 1792, Cimarosa had to leave the Imperial Court and Salieri received his position of court composer back, to keep it de facto for another thirty years.

Cimarosa, Il matrimonio segreto (2012)



Another of the keys to Martín y Soler’s success was that he knew how to keep this flexibility and his ability to adapt without ever losing his own style and essence.

Throughout his career, his aesthetics follow certain general guidelines similar to those used by Spanish composers of the 18th century: a clear and clean orchestration, that avoids excess and artificiality where the voice did not compete in a counterpoint way with the orchestra, and a contained harmony. This apparent simplicity, his capacity for creating beautiful and catchy melodies and that amiable atmosphere of divertimento of his operas enchanted and captivated the audience of all the social classes.

It surely comes across as striking, yet during Martín y Soler’s Viennese period his operas were certainly more frequently performed and had more success than the majority of Mozart’s, who deliberately wrote for intellectual elite.






2. You gained great audience and critical acclaim a few years ago, thanks to your most beautiful and brilliant production of Haydn’s opera La vera costanza. What did you love most of Haydn, the opera composer? And in what elements of his operas do you think the inventiveness and wit of the Haydn of the Quartets and of the Symphonies do emerge with all their charm?

Haydn really played a major and fundamental role in establishing two of the greatest forms of western music: the string quartet and the symphony. He used the string quartet as the means for formal experimenting, achieving thus that peculiar unity, where before there was just a series of movements. He exports his work on the string quartet to his symphonies and, of course, to his operas as well. That interrelation between different genres that he encouraged is, in its essence, both logical and visible. During his life, Haydn enjoyed success and recognition for his work, as rarely happens in history, however after his death and to this day his numerous and valuable works have become progressively forgotten and neglected due to various circumstances. Among these circumstances there is certainly also the appearance of Mozart and Beethoven, and so daddy Haydn started occupying the real undeserved role of a mere introduction to the well-known geniuses.

His very works are a real example of this kind of oblivion that their composer Haydn had to suffer, since they are rarely featured in present theatre programmes, and this is a tremendous pity.

I have been lucky enough to be able to work on such magnificent title as La vera costanza (1779)…

 Haydn, La vera costanza, Sinfonia Introduzione



Haydn, La vera costanza, Finale Atto II



… and Il mondo della luna (1777), both composed while Haydn was in the service of the Eszterházy family (and the majority of his operatic catalogue was conceived, written and produced in such circumstances).

Haydn’s creativity and imagination are overwhelming. His arias and ensemble numbers have their own personality and they are characterized by that peculiar Haydnian scent, so to speak. Haydn is a real magician when it comes to regulating the intensity of music and to carrying it to its climax in a masterly way in his Finale, as his friend and admirer Mozart did in a very similar way.

However Haydn had a disadvantage, when we consider his opera production in comparison to that of Mozart and Martín y Soler: the quality of his librettos, in reality, was not excellent. Working in the Eszterházy court, he did not have a lot of opportunities to work with librettists of the rank of Lorenzo Da Ponte, while Mozart and Martín y Soler could work with him, one of the best librettists of that period. Probably this is one of the reasons why present day theatres do not produce his operas with particular assiduousness, even though Haydn’s music is so marvellous.

Another aspect that I much cherish in Haydn is his humour, always so manifestly evident in his entire musical production and this even more overtly and effectively in his own operas.




3. Thanks to your activity as concert organizer, you have revived also a special type of 1780s concert: concerts featuring, during the same soirée, music by Mozart and by Martín y Soler. Probably the first time this happens since 1780s, when we know from the sources that music-lovers adored to organize such types of concerts (Mozart+Martín y Soler) with «extraordinarily numerous audience… and in unanimous satisfaction… elicited unanimous applause». What have been your impressions in finally re-uniting such two great masters of music for the same concert? Mozart wrote also a few vocal pieces to be included in the Operas by Martín y Soler: do you think he wrote such pieces, by using exclusively his own style or added also a bit of Martín y Soler in them?

I see this type of programmes with great satisfaction, both on a personal level and also because of the reaction of the audience and of the musicians themselves. A marvellous example is the programme for the debut of my period instrument orchestra La Madrileña which featured exclusively works by both authors. I chose masterpieces by Mozart such as the Symphony No. 40 in G Minor,…

Mozart, Symphony nº 40



…  the aria of Leporello Madamina, il catalogo è questo from Don Giovanni or the duo Crudel! Perchè finora from The marriage of Figaro and I combined them with overtures, arias and duos from operas by Martín y Soler such as Il burbero di buon cuore, Una cosa rara, La capricciosa corretta and L’isola del piacere. These works did not only prove a competence of Martín y Soler on the level of a Mozart, but the audience and even some of the orchestra members themselves were really amazed at the intrinsic high quality of Martín y Soler’s works.

Regarding your second question, yes indeed, the musical interrelation between Mozart and Martín y Soler is not only due to the famous quote from Una cosa rara which appears in the finale of Don Giovanni.
Sometimes these operas were performed during a long period of time and it would be necessary to replace one or another of the singers and such situations led to inevitably remake and readjust the music to the new voices.

This is exactly what happened in 1789 with the repositioning of a few arias of Il Burbero di buon cuore for the character of Madama Lucilla: Chi sa qual sia and Vado, ma dove.
 
Mozart, Aria Chi sa qual sia



This opera by Martín y Soler had premiered three years before and the new singer, Louise Villeneuve, needed for her arias to be developed in a more centred register. As lo Spagnuolo, Martín y Soler, was in San Petersburg, Mozart received the assignment for the rewriting. Mozart accepted and composed these two magnificent arias based on the same text by Lorenzo Da Ponte, yet in his own personal style.




4. Your orchestra La Madrileña receives its name after Martín y Soler first opera Il tutore burlato or La Madrileña (1775-1776 as zarzuela), both as an homage to Martín y Soler and as a label for your Music Project The Martín y Soler Project. Among your activities with your orchestra, you are presenting a series of concerts featuring again rare beautiful music from the Spain of the 18th century with works by Martín y Soler, Boccherini, José de Nebra, Rodriguez de Hita and from the Zarzuela tradition. What are your vision and your projects for your orchestra La Madrileña and for the music of 18th century for the future, especially regarding The Martín y Soler Project? Do you think also that your activity of music critical editor will lead you also to re-discover some other lost music gems, after your marvellous work with Martín y Soler’s opera Pesnolubie?

I have great and ambitious expectations for La Madrileña and The Martín y Soler Project related activities. I hope we could soon complete our concert activities with also a series of productions of opera and zarzuela; the musicians I am fortunate to rely on are extremely capable and this allows them to tackle any type of production.

Regarding the Martín y Soler Project, which is in the DNA of La Madrileña, it is through this project that we aspire to encounter the recognition that Martín y Soler deserves. I firmly believe that the ideal way to showcase his music qualities is through an orchestra of period instruments of the highest standard such as La Madrileña.

Regarding the second question, I have been finding really hidden gems for so many years, until today, and I am sure that this state of things will certainly continue in this way, as long as I steadily carry on a strenuous archival and documentary research.

On the other hand, and especially regarding the Spanish music heritage, we have to state that it is so vast and of such a high quality, that it is hard to believe that it has been so scarcely performed so far. In addition, I have the pleasure to be able to rely on the invaluable help of various musicologists. Vera Fouter is one of them and her contribution is the largest one to The Martín y Soler Project. Doctor Fouter (Vera Fouter at Academia; Read here her work on Martín y Soler – University of Oviedo: La Estancia en Rusia de Vicente Martín y Soler: nuevas aportaciones musicologicas) is an academic major, specialized in Martín y Soler and it is mainly thanks to her studies and efforts that the revival in modern times of three arias from the opera Pesnolubie by Martín y Soler has been possible and this with the collaboration of La Madrileña: such works, in fact, have not been performed for more than 200 years!

Martín y Soler, Aria V svéte liúdi svoevólni, from opera Pesnolubie


Presently we continue working together on Martín y Soler’s music and we are really looking forward to being able to show the fruit of our work, as soon as possible, by presenting, to the public, new marvellous forgotten gems by him and by other composers.




5. Your favourite work by Mozart and your favourite work by J. Haydn.


This is a tough question, since I am literally capable of crazily falling in love with the works I am working on at the moment.

If I am conducting the 41st Symphony by Mozart, it happens that, during the process of study, the rehearsals, and the concerts, that very symphony can become even my favourite symphony ever.

And this always happens to me, always and with all the works I am working on.

However, if I had really to choose an opera, in particular, and nothing else, I’d choose Don Giovanni.
 
Mozart, Don Giovanni, Overture



Mozart, Don Giovanni, Aria Madamina, il catalogo è questo



I also think that that very peculiar experience that one lives when conducting (one’s memories, perceptions, the atmosphere, etc.), always exerts a great influence on one’s disposition towards things and also towards music works.

Many things, so, may exert a direct influence on one’s choices, but, without a doubt, Don Giovanni is special to me.
____________

For Haydn, I would choose Die Schöpfung.

It is a masterpiece for which I have always cultivated a profound admiration: it is an oratorio full of subtleties and of dramatic qualities, well deserving to be positioned among the greatest masterpieces of all time.




6. Beside Martín y Soler, do you have in mind the name of some neglected composer of the 18th century you’d like to see re-evaluated?


I am interested in José de Nebra (1702-1768), a Spanish composer who composed marvellous zarzuelas and sacred works.

He is a great artist who, with minimal resources, was capable of achieving great expressiveness: a characteristic typical only of great maestros.




7. Considering your work on Martín y Soler and the zarzuela, name a neglected piece of music of the 18th century you’d like to see performed in concert with more frequency.


Any opera by Martín y Soler and any zarzuela by Nebra represent marvellous concert and performance proposals, worthy to be included into any Music Season programme more frequently.



8. Have you read a particular book on Mozart Era you consider important for the comprehension of the music of this period?

I think it is of great importance to develop a proper knowledge both of the oldest and of the latest musical treatises, with a particular attention to those treatises, which belong to the same era as the music works you are working on: it’s the only way to better understand any phase of the musical creativity process in its correct context and also within the historical flow.

To have a wider perspective always gives you the possibility of a better comprehension both of the subject, as a whole, and of its single parts and elements. Considering this special perspective, I think that the famous treatises by Quantz and Leopold Mozart are indispensable tools for any musician, even though those treatises belong to a previous generation, or better, exactly because they belong to that previous generation that produced the music of the 18th century.

On the other hand, I consider it very useful to develop also a proper historical, social and political knowledge, and not only a musical and an artistic one. I would like to cite here The Present State of Music in France and Italy by Charles Bruney and the Memoirs by Lorenzo Da Ponte, both perfect books for that type of intellectual work, I was talking about.

[The Memoirs by Lorenzo Da Ponte are already available to read & download at the MozartCircle Library: Mozart’s Life Books – Other Sources. Also the other books and treatises will be available soon.]



9. Name a movie or a documentary that can improve the comprehension of the music of this period.

Considering the movies related to classicism, it is inevitable to remember the most famous Amadeus.

To complete an ideal trilogy that would help to grant a perspective on the previous and later periods I would cite Eroica, which re-enacts the first rehearsal of the 3rd Symphony by Beethoven (the recording is with musicians who play on period instruments), and Farinelli, il castrato, especially because of the very peculiar relationship of this great singer and of his family with Spain.




10. Do you think there’s a special place to be visited that proved crucial to the evolution of the 18th century piano music?

I think that if I had to choose a place, it would be Vienna.

The weight and influence that Haydn and Mozart had on Beethoven and on the future of the German and European music is simply indisputable.

However we cannot forget to mention Italy.

The musical genre of Viennese classicism, in fact, is par excellence, in reality, the Italian Opera buffa, to which later composers, like Rossini and Donizetti, gave their enormous contribution, preparing the way to a long series of excellent maestros, from Bellini to Verdi.





Thank you very much for having taken the time to answer our questions!

Thank you!

Copyright © 2017 MozartCircle. All rights reserved. MozartCircle exclusive property. 
Iconography is in public domain or in fair use.