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Interview July 2017: 10 Questions with P. Malan

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Petronel Malan: Official Sites
Petronel Malan Site: Petronel Malan
Petronel Malan: Petronel Malan (Hänssler Classic)
Petronel Malan: Petronel Malan (Blüthner Pianos)
Petronel Malan: Petronel Malan (Twitter)
Petronel Malan: Petronel Malan (Facebook)
Petronel Malan: Petronel Malan (YouTube)

Petronel Malan: CD Albums
Petronel Malan: Transfigured Mozart
Petronel Malan: Transfigured Beethoven
Petronel Malan: Transfigured Bach


1. In 2006 and in 2008 you produced two beautiful, interesting and critically acclaimed CD Albums on Mozart and Beethoven: Transfigured Mozart and Transfigured Beethoven. What can you tell us about the origin and the story of these two CD Albums?

The Transfigured Bach recording was given to me as a project and I practiced and recorded it.

I did not do the research for that album.

When Hänssler Classic suggested I record a second CD, I started researching all the music and options to continue with transcriptions – and I found all the scores for Transfigured Mozart.

It happened to fall on the 2006 anniversary for Mozart and we decided to release in time for the anniversary.

I have always loved transcriptions, so it was a natural idea to record this music and since I discovered so many world premiere recordings, that happened almost naturally also.

As I was researching the Mozart, I started saving scores for future projects. I have a huge database of scores now.

So for my last 4 recordings, I did all the research for each recording.

I still have many lesser-known scores saved for future use for other recording projects. People also give me rare scores after concerts. So many scores I just received as a gift from a stranger after a concert!

… It is almost funny the two things people bring me most after concerts: Vintage dresses from their grandmothers… and rare scores. I love both things so I am always happy when people give this to me!

Petronel Malan plays Glinka’s Transfigured Mozart.

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2. We know you have in your concert repertoire also piano works by Haydn. What’s your relation with the compositions for piano by Haydn?

I have always loved playing Haydn.

It falls well on the hand and I think there are some absolutely beautiful music available.

People always know about Mozart, but the average person sadly doesn’t always know about Haydn.

Then I make sure to tell them that Beethoven studied with Haydn a bit, since he wanted to study with Mozart but Mozart had died. And Schubert was a pallbearer at Beethoven’s funeral. They are all connected.

What an amazing time to be alive and think that they all, all those great composers, had met each other!

Petronel Malan plays Haydn’s Sonata in C major Hob XVI/50, Mvt. I
Petronel Malan plays Haydn’s Sonata in C major Hob XVI/50, Mvt. II & III

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3. You are an official Artist of the most famous Leipzig firm Julius Blüthner Pianofortefabrik GmbH, one of the Big Four. What can you tell us about the distinctive quality of this piano manufacturer. And why and how did you choose their pianos? And what’s your story of collaboration with Blüthner?

When I walked into Skywalker Studios (George Lucas’ estate in California) to record my first CD, there were 2 pianos to choose from.

There was one of the most beautiful Blüthner Model 1 pianos and also another piano – which was also quite beautiful, but it didn’t have the sound and colour of the Blüthner.

So, I chose the Blüthner for my recording.

It was almost by accident that this happened.

After my first recording was nominated for the Grammy awards, they made me an official Blüthner Artist.

I then recorded my next 4 recordings in Leipzig, so that I would have easier access to Blüthner pianos.

They supplied not only the pianos but also the technicians for every recording.

Pianists will know how very important this is! I was really spoiled – and very lucky.

By recording in Leipzig, I now had choices of up to 5 Blüthners before every recording session!!

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4. You regularly organize Piano Masterclasses. What’s your approach in teaching to your students?

I don’t organize the Master classes… they happen mostly in conjunction with my concerts.

Usually, after a concert, I teach classes for local students.

I do not teach on a regular basis since I am usually traveling for concerts, so I have these classes to teach younger students.

When I was a child, I always asked every pianist I heard if I could get a lesson, but they mostly could not fit lessons into their schedule… which disappointed me greatly as a child.

So I made a point of being available for younger students after my concerts.
I’ve met some wonderful young talents and they have kept in touch through the years.

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

For Mozart, it would have to be operas, but since I can’t sing at all and only listen to the operas, I’ll say the piano concerti… Absolute genius music.

For Haydn, probably string quartets, but again, I can’t play them so piano sonatas or variations?

I want to be able to play my favourite music myself, so it is hard to have something as my favourite when I can’t play it. That’s one of the reasons I love transcriptions so much – I can play almost everything and anything – even if it wasn’t written for me.

There are some exceptions, however: Second movement of Beethoven’s 7th Symphony might be one example of something that doesn’t work on the piano… I have a few transcriptions of that movement but the solo piano doesn’t do it justice.

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6. Do you have in mind the name of some neglected composer of the 18th century you’d like to see re-evaluated?

No one specific comes to mind, but it is not something I am actively searching for.

For me, personally, I would say that great transcriptions based on music of this era would be something that I am always looking for.

I have fantastic friends who also collect lesser-known scores and we are always exchanging scores we find.

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7. Name a neglected piece of music of the 18th century you’d like to see performed in concert with more frequency.

Transcriptions of works from the 18th Century!

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

I usually read something about the composer as I am preparing for a recording project.

Before I recorded Transfigured Brahms, I read Jan Swafford’s book about Brahms. While I was researching and preparing for Transfigured Beethoven, I read The Last Master by John Suchet (@johnsuchet1 on Twitter!)…

I warn everybody before you read these books, that it will forever change how you view Beethoven not only as a musician, but also as a person.

I absolutely LOVED these books.

You will always look at Beethoven in a different way. The books are in 3 volumes and I hesitated starting volume 3, because I knew Beethoven was going to die and it made me quite sad. It is written as historic fiction – so the facts are always correct, but the conversations are made up.

I can not recommend these books enough to anyone working on Beethoven in depth.

Suchet writes with so much love and empathy about Beethoven, that it was only after reading these books that I truly realized Beethoven’s as a human being and not just as this historic figure who wrote great music.

Highly recommended.

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

I will always love Amadeus, but you have to be aware what is legend and what is fact.

I did not really like Immortal Beloved but I need to see it again perhaps. It has been years.

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

I try to visit composers’ graves whenever I travel.

Beethoven is easy because he is right next to Schubert and Brahms and Strauss in Vienna.

You can also visit one of the many places where Beethoven lived while he was in Vienna. I think in total he stayed in almost 40 different places because he was always having problems with his neighbours and landlords.

I visited Mozart’s houses in Salzburg.

I visited Bach’s grave in Leipzig and Chopin’s grave in Paris and Rachmaninoff’s in NY.

I went to Liszt’s apartment in Budapest and was allowed to play on his pianos.

I think these type of visits, are always good for how you view a certain composer.

And you can take them flowers and say thank you for enhancing our lives for the better!

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

Thank you!

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

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Interview June 2017: 10 Questions with R. Maeder

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Rebekka Maeder: Official Sites
Rebekka Maeder Official Site: Rebekka Maeder
Rebekka Maeder: Rebekka Maeder (LinkedIn)
Rebekka Maeder: Rebekka Maeder (Facebook)
Rebekka Maeder: Novocanto Ensemble
Rebekka Maeder: Novocanto Ensemble (Facebook)

Rebekka Maeder Coloratura Soprano:
Next Concerts
10-11-18 June 2017: Haydn – St.Cecilia Mass
8 July 2017: Mozart – Così Fan Tutte
16-17 September 2017: Mozart program concert
4-5 November 2017: Schubert Mass in E Flat (Bern)


1. International Soprano with a vast and varied repertoire (from Bach, Handel up to Mendelsshon, Offenbach, Ravel and Leonard Bernstein), through the years you have been building a really impressive Mozartian repertoire: 5 Mozart’s operas, 8 masses, Davidde penitente and many other Sacred Music Works by him. What attracted and what attracts you the most in Mozart’s music? What Mozartian opera character do you like the most of those you have interpreted? And why? What Sacred music Vocal part do you like the most of the many Mozartian Sacred Works you have interpreted? And why?

The compositions of Mozart are simply the product of an unrivalled genius.

He knew exactly how to deal with the human voice… how he had to write for each character in order to make it possible for the singer to show all the colours and all that necessary diversification that not only effectively builds the character but also makes the character well defined and interesting. Moreover, the orchestration is written by Mozart in a very clever way, so that it never arrives to an excess of demand from the singer. Personally, I do really love the elegance of Mozart’s melodies and how he musically builds up the characters in his Operas.

The characters in Mozart’s operas, which I have interpreted so far, with the exception of the Queen of the Night, show some similarities: young, adult ladies of nobility, confronted with the themes of love, loyalty and betrayal.

Mozart’s operas are mostly about the emotional entanglements with which the aristocratic population has to deal with in everyday’s life: love and fidelity, desire and adventure, power and resignation.

Therefore, a decision about my favourite Mozartian character is not easy at all… you see, it much depends on the profundity of a character and on the actual musical part, as well.

Of course, the Queen of the Night (The Magic Flute) has such a special value and such an intrinsic charm of its own: the great concentration of emotions, the high drama and also the vocal technical challenge… And all this must happen on stage and in music in a very short time… she has 3 shows in the whole opera: 2 arias of approx. 4min each and an ensemble at the end. Within these short periods, all these characterizing factors must perfectly emerge from your interpretation. This challenge is always a motive of great enchantment and it is always such a great joy to accomplish your performance of this character.

On the other hand, the Queen of the Night, as a drama character, has not an actual evolution nor a distinct development within the opera. If we consider this point of view, I must say I do prefer the character of Donna Anna in Don Giovanni. Such character really leaves enough room for the development of the various different facets, not only on a theatrical level but also, and principally, on a pure musical level.

In the field of sacred music, I love the Mozart’s Great Mass in C Minor in a special manner.

The enchanting Soprano solo Et incarnatus est represents a great and, at the same time, a marvellous challenge to the singer, when you are demanded to completely merge intimacy and virtuosity through your own performance.

Moreover, in general, the Mass itself is a very delightful masterpiece for the soprano. There are even two of them, who are also ingeniously combined firstly in a duetto, and then with the tenor in a terzetto.

This mass is so marvellously permeated with an outstanding dimension of love and spirituality (and all this with a stylistic variety that is, at the same time, so harmoniously forged into an art product of such a pure and elevated unity), that it deeply touches the audience as well as the interpreter.

Rebekka Maeder sings Mozart, Mass in C Minor K427, Et incarnatus est.

Rebekka Maeder sings Mozart, The Magic Flute, Der Hölle Rache.

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2. In your Repertoire you have also many works by Joseph Haydn: The Creation, The Seasons and 5 Masses. What kind of interest led you to his music? What are your considerations on Haydn’s vocal parts in his masses and in his oratorios?

Haydn’s music is a great playing field for me as a singer!

I love his strong, sometimes even impetuous temperament, the freshness and playfulness of his compositions.

Sometimes arias are written in a way, that really recalls the Lied or Song technique, and can have a very catchy, almost folkish tone, but then… they can be highly virtuosic again.

His musical talent can achieve also such striking high levels of pictorial dimension.

An extraordinary example of this is his work The Creation in which his compositional mastery really stands out in all its glorious might… just not to mention that magnificent musical conception of chaos at the very beginning of his work.

Haydn really manages to break the rigid forms of baroque oratorios… and in such a pioneering way!

In The Creation he also shows his great talent in tone painting!

Each voice of nature finds its clear imitation in the sounds of the orchestra and also in the vocal parts: from the rays of the sun to the foaming waves of the sea, to the lions and the doves, etc.

All this is so so extremely interesting, if we consider the form of art itself!

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3. In your repertoire, apart from Handel’s works and Beethoven’s works, you have many important composers of the second half of the 18th century/beginning 19th century. Among them we remember Mozart’s friend and mentor Josef Myslivecek, Mozart’s and Haydn’s great pupil Hummel with his masses, the brother of Haydn and Mozart’s friend M. Haydn and also Gossec. What can you tell us about your interest in these composers and in their music? What led you to add them to your repertoire and which one of them do you consider the most interesting composer?

My musical interest is concentrated mainly on the epochs of classical music and romanticism.

As a freelance musician I have free choice on the works I sing, of course. I can decide whether the work or the composer irritates me or not.

Nevertheless, usually the theatres and conductors are those who make their first choice, as far as the composer and the work are concerned… and this gives me the lucky opportunity to know and sing music works, which I just did not know.

Moreover, it is fundamental to me also to decide whether the piece fits my voice or not.

In general, however, I think it is important to have as much diversification as possible in my choices and not to limit myself to interpreting only the great and well-known composers and works.

This alone arouses my interest, especially when we are considering composers of these epochs and when such composers, like Myslivecek, are also well associated with Mozart. This connection, not only in terms of teachers and pupils, but also friendships and competitions, often has a great influence on the composer’s musical work.

For me, it is in this very moment that music shows one of its most beautiful aspects: it unites people and people learn and grow together: the creators, the performers and the audience.

To explore what influences can be found in the music of Myslivecek, Hummel, Michael Haydn and Gossec has been and is of great interest to me.

And it is always exciting to discover how differently the composers have treated the human voice in their works.

Since these composers are very different one from the other, frankly I cannot say which one of them I consider the most interesting. You see, an important attitude for me is not to evaluate everything in life in a too sharp manner. It’s not just about what is now more meaningful and important, more intelligent, more virtuous, or more perfect. People are not perfect, in any respect. So I just try to grasp what I find in music, in terms of what is offered to be grasped, and I try to give it that meaning, the music itself wants and tries to express: sometimes this is really very much and of a complex nature, sometimes it is just simple and even, so to speak, casual.

In any case, I must say that, in particular, the works Abramo and Isacco by Myslivecek and also Gossec’s Grande messe des morts have been particularly touching to me.

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4. This year 2017 you are presenting Haydn’s St.Cecilia Mass (June), Mozart’s Così fan tutte (May-July), a full Mozartian program (September) and a Schubert Mass in November plus masses by Mozart (April) and Scarlatti (March) and Schumann and Mendelssohn. You also collaborate with various projects and ensembles and you are also a regular guest at various Music Festivals. So what can you tell us about your current and future projects? And what your suggestions to young singers who want to build a repertoire on MozartEra music?

I like the diversity and the constant new discoveries in the field of music.

I do not have to move across all the epochs, but I choose, where my voice and my heart lead me mostly.

I enjoy being able to make opera and operetta and sacred music with choir and orchestra, as well as chamber music.

Of course, concerts such as Haydn’s Cäcilienmesse, the Mendelssohn concerts in May and the Schubert Mass in November are impressive sonorous experiences, as they can fill a concert hall or a large church with a large orchestra and choir.

To make music with so many people is also a great accomplishment and it is also always so exciting to work with the different levels of the choirs… I mean, to work with professional musicians is an utterly different experience from working with non-professional choirs and often, when church music is involved, both experiences just incredibly meet each other.

Moreover the audience itself can be also so heterogeneous and of such a different nature. And this is a real challenge for the musician: to reach people, whether they are familiar with classical music or not.

And such considerations led me to work in projects like the Cosi fan tutte I’m presenting again in July: a chamber music version of the beautiful opera, tailored for the operatic lover as well as for the eyes and ears that are not familiar with the opera yet. The recitatives were replaced by the narrator Uwe Schönbeck, an outstanding and well-known actor in Switzerland and formerly a great and experienced singer who leads the audience through the opera and thus connects the musical numbers. This makes the opera much slimmer and more intelligible and it can also be easily financed and this in favour of smaller stages (a major subject in modern times not to be underestimated) and finally free the untrained listener from the fear of a visit at the opera house.

This variety of different works and performance platforms also offers great space for young singers to get acquainted with the repertoire of this time.

The vocal and artistic development of each young singer has its own pace and should be well reconciled with its possibilities. It must not be conducive to singing the most difficult and most complex works and roles too early and also the performance pressure should be handled with care.

So many young talents disappear, just because of a too much, so to say, because of too big stages and of a too heavy repertoire, which was forced.

Having a good mentor (or even several ones) who always has an eye and an ear on the singer is more than advisable. He can give good advice in the choice of roles and, above all, the necessary technical level. Internal and external growth should go hand in hand.

In contrast to later composers of the romantic period such as Strauss, Dvorak, Mahler, Verdi, Wagner, etc., the composers of the classical period seduce far less to an uncultivated and impetuous handling of the voices. The forms are more regular, the voice is somewhat less endangered.

Among the numerous works of classical music, however, there are also immense differences in the demands on the human voice. For example, it is advisable to choose, as a young soprano, the lighter voice parts (with Zerlina instead of Donna Elvira or with Blonde instead of Constanze), even if the voice shows already the potential for great drama.

Admittedly, sometimes the outside world does not seem to give a choice, but ultimately everyone decides more and more on his own voice.

If you are over-estimated it is actually easier to react, you can always cancel a job offer.

If a singer assumes too much too early, his ego is too great, or he has not dealt well enough with the part to be sung and has underestimated it (here an experienced consultant would be important).

If the singer does not take the step to accept or to apply for a role, although he is able to do so vocally, the ego, i.e. the inner growth, was not ready yet.

If one is underestimated, i.e. not being heard, this can have a reason which can be found in the very singer… the interior does not want to show itself, although it could. It is always a fundamental matter of balance.

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

Don Giovanni and The Creation.

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6. Do you have in mind the name of some neglected composer of the 18th century you’d like to see re-evaluated?

I think Louis Spohr (1784-1859) is a very interesting composer.

Next year, one of his works The Saviour’s Last Hours will be performed.

Spohr is anything but unknown, his works range from opera, operetta, oratorios, drama music, songs, symphonies, chamber music to numerous violin concertos, however, despite the quantity and the quality of his works, he is rarely found in the concert or in opera agenda.

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7. Name a neglected piece of music of the 18th century you’d like to see performed in concert with more frequency, especially thanks to your special experience as a MozartEra musician, performer and connoisseur.

For instance, Gossec’s Grande messe des morts or Hummel’s Mass in D Minor.

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8. Do you have in mind a particular book on Mozart Era you consider important for the comprehension of the music of this period?

For me, reading books is not the first choice when it comes to understanding the music.

I rather try to see how a composer has written the music; how he wrote my vocal parts and how he orchestrated them.

When I read books, I rather choose biographies or, even better, letters from the composers or from his contemporaries, as is in the case of Mozart.

Mozart’s letters are really wonderful to get an authentic impression of his world… They say a lot about the spirit of his time and about his own character.

 

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

BBC has produced a good number of interesting documentaries on Mozart; e.g. the chapter A Passion for the Stage from The Genius of Mozart (BBC Documentary).

And Amadeus is also a nice movie to get an impression of that time.

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1984, AMADEUS

10. Name a place to be visited that proved crucial to the evolution of the 18th century music.

Vienna is such a great place!

You cannot get around this city (fortunately), if you have to deal with the music of this century.

I have been there several times for masterclasses and sightseeing!

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

Thank you!

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

 

 

Interview October 2016: 10 Questions with K. Woods

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Kenneth Woods: Official Links
Kenneth Woods Official Site: Kenneth Woods
Kenneth Woods & ESO Official Site: English Symphony Orchestra (ESO)
Kenneth Woods: Kenneth Woods at ESO
Kenneth Woods: Colorado MahlerFest
Kenneth Woods: Kenneth Woods Twitter (Official)
Kenneth Woods: ESO Twitter (Official)
Kenneth Woods: Kenneth Woods Facebook (Official)
Kenneth Woods: ESO Facebook (Official)

Kenneth Woods: CD Elgar Piano Quintet – Sea Pictures Top 10 Best Seller
Kenneth Woods: CD Hans Gal & Mozart Piano Concertos

Kenneth Woods: Next Concert: Haydn & Mozart (11 December 2016)
Kenneth Woods: Next Concert: Haydn, Mozart & Beethoven (21 December 2016)


1. Your recent CD Elgar: Orchestrated By Donald Fraser, Piano Quintet, Sea Pictures reached the Amazon Best Seller Top 10 last June! In his youth, in 1870s, Elgar himself arranged many works by Haydn, Mozart and Beethoven for quintet and wrote his Harmony Music and Shed Pieces, which had a strong, yet personal, Mozartian writing, do you think that the influence of those composers on his music still emerges from his later works? And if yes, how?

Elgar is an interesting figure, because his own compositional voice is so strong and so consistent across his entire maturity. Composers like Shostakovich or Beethoven, or even Mozart, went through huge changes of style in their careers, while the differences between early Elgar and late Elgar are pretty small. The only composer I can think of who has such a consistent and recognizable voice is Brahms. Elgar’s voice was so strong, that even his orchestrations of other composers sound like Elgar.

This means it’s quite hard to spot the influence of other composers in Elgar’s music. His knowledge of Brahms, Beethoven, Wagner, Schumann, Mozart, Haydn and Bach (I’d say those are the composers who shaped his language and technique the most) is so deeply assimilated and integrated into his own musical world that one almost never thinks «Oh, that sounds a bit like…».

What Elgar ultimately learned from the Austro-German masters is a multi-layered approach to motivic development. There are thematic connections in his music that are very obvious, and there are those that are almost undetectable. In a piece like the Piano Quintet, there are obvious moments of cyclical structure, where whole themes return at the end of the piece which we know from the beginning and which are easy for anyone to spot, and then are tiny, microscopic relationships of intervals and ideas that are very important to the musical logic, which one can only really dig out with lots of analysis while looking at the score.

Haydn and Schumann were the greatest masters of this kind of layering, but Mozart excelled at it too.

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2. You are a well known promoter of Haydn’s music, also through your own blog A View from the Podium, what are your considerations on your activity on Haydn and on the importance of building a wider knowledge of his music, still, unfortunately, a bit neglected? In September you have conducted the beautiful Symphony no. 80 by Haydn, what have been your thoughts, while preparing your performance? Written in 1784, 2 years before Mozart’s Prague K504 and 1 after Linz, do you think this Symphony by Haydn somehow influenced Mozart’s late symphonic writing?

I think there are two main reasons why Haydn’s music is still mostly misunderstood or underappreciated by the general public. First, I think he’s been very badly served by performers and writers who have tried to tame him as both a human being and a musician. The banal image of the benevolent Papa Haydn is only a tiny portion of a complex and fascinating personality – he was a man of tremendous temperament, great tenacity, capable of great anger and passion, and someone who took great personal and professional risks throughout his career. He must have been a genius at dealing with people – think of what it took to keep that incredible orchestra together at Esterháza with all those great artists and strong personalities. The musical manifestation of this problem is that we keep Haydn’s music behind glass. Too many Haydn performances are too bland – everything is made polite and genteel. I think his music is overflowing with madness and genius. It’s not just gently witty.

Of course, Haydn, even well performed and well curated, asks a lot of listeners. It’s very sophisticated and endlessly modern music.

But I’ve found that if you strip away all the accrued politeness and gentility that has become attached to his music and play it with real commitment and total abandon, audiences hear it and are just stunned.

As far as Haydn’s influence on Mozart, it’s not an easy thing to describe in a few words. They were writing during an era in which the language of music was as standardized and codified as pretty much any time I can think of – the only parallels I can think of are movements in popular music, where certain formulae completely dominate the discourse for a while, like doo-wop, rockabilly or ragtime. Mozart and Haydn were fairly unique in taking a system of stock musical gestures and using them to create incredibly expressive and completely radical music. Both of them understood the power of expectation – how to create it and how to undermine it. Haydn provided the structural framework for Mozart by creating or perfecting the forms in which Mozart would excel: sonata form, the string quartet and the symphony.

But by the time you get to Mozart’s earliest mature symphonies like 25 or 29, you can see he’s a totally different character than Haydn. There’s a melodic brilliance and emotional directness one almost never finds in Haydn, but it lacks Haydn’s wildness and technical genius.

What’s touching is that they clearly understood and loved each other’s music without any hint of jealousy or condescension.

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HAYDN & A VIEW FROM THE PODIUM (by Kenneth Woods)
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Haydn’s Music- Bathed in Fire and Blood
Haydn in The Oregonian
Haydn the Yurodivy
Reading Haydn from Beginning to End
Haydn- more talented than Mozart
Haydn- smarter than Brahms
Controversy over Haydn and magic with Schumann
RCCO- Schubert and Haydn
Haydn the Subversive
Podcast- The “true” story of Haydn 59
Listen Again- Haydn Trumpet Concerto
Haydn- More fun than Mahler!
More Haydn
Haydn’s on- let’s cancel the concert and rehearse
Haydn

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3. You have published also a really beautiful series of CDs with music by the Austrian-British composer Hans Gál. Among them, Gál’s Concerto for Piano and Orchestra and, in the same album, Mozart’s Piano Concerto K482: what led you to create this special combination? You have in your repertoire also a few rare works from 18th/19th century like the Harmoniemusik after Mozart’s Don Giovanni and Figaro by Triebensee and Wendt: do you think this special charming type of works, which had also a specific social value when written, should receive more attention in Concert Seasons, in order to enrich them?

Gál is a special case.

Throughout the decade or so I’ve been working on his music with the Gál Society, one thing I got from them was their deep conviction that his music shouldn’t be assessed too much in terms of his biography.

There has been a lot of long-overdue interest in composers like Gál, whose lives were disrupted (or worse) by the Nazis. It’s important that we let their music be assessed on merit, and not presented with too much special pleading because of their personal tragedies.

With that in mind, we’ve always coupled his works (with a few exceptions, like our disc of string trios by Gál and Krása) alongside works from the Austro-German tradition that he saw himself belonging to. Generationally, he was closer (by far) to Mozart and Schubert than I am to Shostakovich or Mahler.

Hopefully placing his music next to Mozart’s helps us to better understand both composers.

As for the Harmoniemusiks– I think they’re wonderful!

I’m a great fan of arrangements in general. Mozart was, too!

Audiences love these arrangements, and it’s wonderful that one can showcase one’s woodwind section using some of the greatest music ever written.

Orchestras don’t feature their wind sections enough!

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4. When you work with the orchestra, preparing a new series of concerts, what are your pieces of advice and tips to the musicians on approaching Mozart and on approaching Haydn?

On a technical level, I don’t think musicians think as deeply about meter and metric structure as they perhaps should in Baroque and Classical repertoire!

Understanding all the nuances of different kinds of impulses and strong and weak beats and bars is absolutely essential for giving this repertoire the right sense of variety and elegance. When you work with a good orchestra over time, you try to develop a shared understanding about how meter works in Mozart and Haydn (and Bach and Handel).

On a more spiritual level, Classical repertoire seems to bring out musicians’ worst tendencies to imitate other people’s performances and mannerisms. The HIP movement has made the problem even more common… it’s become shorthand for a set of performance habits which are mostly the result of a very contemporary aesthetic.

If I’m feeling naughty, I occasionally point out that the aesthetics of Ikea furniture and many period instrument recordings are basically the same. It’s all about clean lines, bright textures, standardized approaches. I would hope the study of performance practice would lead us to be more questioning and more radical, not to simply recycle the interpretations of a conspicuously brilliant generation of other conductors, whose aesthetics were obviously shaped by the British Cathedral choral tradition as much as anything else.

Why do so many performers ignore or downplay Haydn’s use of fortissimo… a dynamic he uses very sparingly? Why do so many performers end every phrase in Mozart with a diminuendo, even when it precedes a subito piano? Surely these kinds of habits are very destructive to the music… it robs it of drama, intensity, contrast and expression.

I felt like I started to blossom as a Haydn interpreter when I freed myself of any worry about whether other people would approve of what I was up to, or whether anyone else had done it before the way I thought it should go.

You’ve got to be honest with yourself about what you find in the score and try to be true to what you learn from it. Once an orchestra feels free to try different things, to make different, more dangerous sounds, everyone’s creativity and energy starts to flow.

Mozart and Haydn come to life when the performers are letting themselves really give their all to the music, instead of trying to imitate the sound of historic instruments, or conform to some emasculated idea of this music being terribly prim and proper.

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

Mozart… It has to be the Requiem, which is a work I’ve been immersed in most of my life!

Haydn… It’s harder to pick one piece with him than perhaps any other composer, as there are so many works of such staggering originality and beauty, and whatever Haydn symphony I’ve just played always seems the most miraculous. If I had to pick one work, maybe the Oxford Symphony (no. 92): it’s a work particularly close to my heart and a piece I learned a great deal from studying.

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6. Do you have in mind the name of some neglected composer of the 18th century you’d like to see re-evaluated?

Franz Danzi!

I was always fond of his Cello Concerto and it, and his other music, seem due for a re-appraisal.

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7. Name a neglected piece of music of the 18th century you’d like to see performed in concert with more frequency.

Any Haydn symphony before no. 92 that doesn’t have a nickname!

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

Maynard Solomon’s biography of Mozart is both an impressive piece of scholarship and a touchingly human piece of writing.

I find it very moving.

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

Malcolm Bilson’s documentary Knowing the Score is a great, compact introduction to the world of performance practice.

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

Vienna!
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HAYDN, MOZART & BEETHOVEN IN VIENNA
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  • Haydnhaus
Haydn’s final Vienna home, here Creation & Seasons were written.
Mozarthaus
Mozart’s only surviving Vienna home (1784-1787). Here the Piano Concertos K.466, K.467, K.482, K.488, K.491, the Haydn Quartets, Davidde Penitente & Nozze di Figaro were written.
Beethoven’s Eroicahaus
Here Eroica was written.
Beethoven’s Pasqualatihaus
Here 4th, 5th, 7th, 8th & Fidelio were written.
Beethoven’s Wohnung Heiligenstadt
Here 1802 works (ie. Tempest, The Hunt, Eroica Variations, Kreutzer) were written.

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

Thank you!

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