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  • contact
    annekescott com Phone 44 208 144 4318 Follow AnnekeScott Sign up here to subscribe to Anneke s mailing list and receive the latest information on her work indicates required Email

    Original URL path: http://www.annekescott.com/contact.html (2016-02-14)
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  • bate-disc
    pleasure Most of the repertoire on the disc will be familiar in particular the Mozart Duos the Dukas Villanelle and the Schubert Auf dem Strom the period instrument Scott plays on this piece tuned to Classical pitch makes the piece sound in Eb to our ears instead of in E The pieces by Dampierre are short horn calls some of them with echoes nicely played by a second hornist Walters The Forrest Harmony pieces are duo settings of familiar music from Handel s Water Music The Haydn is an extremely difficult though not apparently for Scott trio with violin and cello The Simrock is a duo for horn and harp The Moscheles is a Classical era showpiece The Saint Saëns is one of two Romances this is the one in F major Strauss s Andante is a short piece written to celebrate the composer s parents anniversary Scott plays a different period instrument for each piece and handles them with aplomb the range of sounds is wonderful Liner notes describe each instrument and made me hungry for photos I hope she will post pictures of the instruments on her website The natural horns in the Dampierre for example are played without correcting pitch with the right hand and the intonation will surprise you It adds to the raw outdoor feeling of these calls The Dukas is played on an instrument that can accommodate both the valveless opening section and the fingered remainder of the piece the valve clicking on the recording reminds us of how far the technology has evolved Composers writing for the natural horn had the sound of covered notes in their heads and it is a pleasure to hear these sounds both executed with confidence and incorporated into Scott s wonderful interpretations of these pieces Daniel Grabois

    Original URL path: http://www.annekescott.com/bate.html (2016-02-14)
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  • songsoflove
    more remarkable as the work in question was Devienne s Les Visitandines which contains a demanding obbligato horn solo in the aria Ô toi dont ma mémoire Extract from Fantasia sopra un motivo dell opera Bianca e Fernando di Bellini Op 47 2 For a time Perpignan offered Gallay sufficient musical opportunities both as a horn player and as a composer but eventually encouraged by visiting musical dignitaries Gallay made the decision to travel to Paris with a view to enrolling at the Conservatoire From its early days the Paris Conservatoire placed the training of wind and brass students at the centre of its curriculum attracting several important teachers The calibre of hand horn players in France helped prevent the new valve horn gaining acceptance during the nineteenth century and led instead to the development of a hand technique that pushed the instrument almost to its limits Gallay was to epitomise this level of musicality and virtuosity His career was however almost thwarted from the start as despite being accepted as a student by Dauprat Gallay now aged twenty four was technically too old to enrol But dispensation was eventually granted and Gallay was accepted on both the horn and the composition courses Upon graduation Gallay quickly established himself in the Parisian musical scene He initially joined the orchestra of the Odéon but this position was soon superseded by his appointment as cor solo of the Théâtre Italien a position that would bring him into contact with a number of important musicians notably Gioacchino Rossini Whilst this was not the only position Gallay was to hold he was a member of the Société des Concerts du Conservatoire the Chapelle Royale the Musique du Roi the Cercle Musical also known as the Société Musicale and professor at the Paris Conservatoire this was a role that greatly influenced his compositions which are highly dramatic works redolent of Italian Grand Opera In recognition of the high regard in which he was held Gallay was made Chevalier de la Légion d Honneur in 1845 Extract from Fantaisie sur l opéra L Elisir d amore de Donizetti Op 46 In accounts of Parisian musical life we often see Gallay identified as one of the leading performers of the time An 1832 review commented M Gallay M Tulou M Labarre here are three names who provide the idea of perfection for their three instruments Each of these artists would seem to be born for his instrument I cannot conceive of the harp without M Labarre the horn without M Gallay or the flute without M Tulou Anonymous Revue Musicale 21 January 1832 Solo instrumentalists were by default composers as well and charged with creating much of their own repertoire This was especially the case with wind and brass instrumentalists who saw rapid development of their instruments during the century This made them best placed to understand both the risks and the potential of emerging designs and techniques Gallay was a prolific composer writing over sixty works

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  • stolenbeauties
    his earlier sketches and complete the work with his original intentions The main theme of the Romance is in many ways more stately and noble than Mozart s version The gentle benevolent atmosphere is eventually shattered with a turbulent passage for the strings alone However this is a passing storm and the entrance of the horn brings with it a welcome return to calm To some Barham Livius 1787 1865 is remembered solely as a notorious thief Livius a dramatist composer horn player and pianist might not have been the most successful entrepreneur in 19th century London but for certain he was prolific composing incidental music and in some cases writing his own plays All in the Dark or The Banks of the Elbe Henri Quatre and the Fair Gabrielle Benyowsky or The Exiles of Kamschatkey He also had a hand in translating and rearranging works by Auber Léocadie in 1825 La Muette de Portici in 1829 Onslow Le Colporteur 1831 and Weber Abu Hassan in 1823 and Der Freischütz or The Wild Huntsman of Bohemia in 1824 It is in connection with Weber that he has been remembered possibly unfairly Described as Colonel Livius of the Hussars he arrived in Dresden in 1822 Whilst there he approached Weber with the aim of acquiring various scores of Weber s to perform at Drury Lane The exact details of their deal are unclear but later after Der Freischütz was performed at Covent Garden not as promised by Livius at Drury Lane it appears that Weber did not receive the monies owed to him that Livius had been contracted to deliver Livius studied the horn with Giovanni Puzzi and his Concertante for the pianoforte horn viola and violoncello arranged from a Sonata by Mozart is the final work in the folio of manuscripts associated with Puzzi see above The Sonata by Mozart is in fact Mozart s Trio in E flat major for clarinet viola and piano KV498 also known as the Kegelstatt Trio The original Mozart work was dedicated to Franziska von Jacquin 1769 1850 a piano student of Mozart s and sister of Gottfried von Jacquin 1767 1792 with whom Mozart collaborated on or more likely ghost wrote a handful of works such as Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte KV520 Das Traumbild KV530 and Io ti lascio o cara addio KV621a The first performance of the Kegelstatt the nickname thought to be a later appellation comes from the German for bowling alley took place at the Jacquin s house with Franziska as pianist Wolfgang playing viola and the eminent clarinetist Anton Stadler Natural horn by Courtois Frère Paris c 1835 with a detachable périnet valve set sauterelle by Antoine Halary Paris c 1840 Loaned with kind permission by Jeroen Billiet Photos by Jeroen Billiet www corecole be The choice of instrument and technique used in this performance of the work is heavily influenced by an instrument in the collection of the Horniman Museum in London This instrument made in 1814 by the eminent maker Lucien Joseph Raoux is known to have belonged both to Livius and to his teacher Giovanni Puzzi It was originally a natural horn which at some point maybe at Livius s behest had an additional two valve sauterelle block added Sauterelle French for grasshopper is the name given to a set of valves that can be added or removed from the natural horn and was a clever development of the instrument in the early years of valve playing Livius s writing for the horn in the Concertante includes a lot of notes which are not typically found in traditional hand horn writing whilst some sections are very typical of the earlier technique This mixed technique was very common at the time using the older hand horn technique in conjunction with the newer valves thus creating a whole range of new timbres which would have been impossible on the earlier instrument and would become inappropriate on later instruments It is this mixed technique that is used in this recording Watch a video here where Anneke explains about more about the Sauterelle horn As the work progresses so does Livius s confidence in writing for such an ensemble The opening movement is set at a more bracing Allegro con brio than Mozart s original Andante marking and more or less transplants the clarinet part to the horn leaving the viola part the same save for a few changes in figuration and adding the cello part to either bolster or relieve the traditional bass writing of the piano part In the Menuetto and Trio the cello starts to take on a more provocative role sharing more of the original clarinet material in the Trio whilst the horn rests Livius boldly alters the structure of Mozart s original by omitting the final coda of the Minuet The final Allegretto is the most developed arrangement of the whole work with more additions and creative rewritings than in the previous two movements enabling each instrumentalist to have moments of exposure and banter Interspersed between each of these larger works are three short duets from Giovanni Punto s Trois duos Punto 1746 1803 was born Jan Václav Stich into a family of serfs in Žehušice Bohemia The child s musical prowess was noticed by the local Count who enabled him to travel first to Prague where he studied with Matiegka then to Munich to study with Schindelarž and finally to Dresden where he studied with leading horn players Hampel and Haudek Stich fled a life of servitude back home in Bohemia and embarked on what was to be one of the most prominent careers of any natural horn player under his new Italianised name of Giovanni Punto He composed a large number of works mainly for horn but also for other solo instruments such as violin on which he was also a fine player and flute His prowess as a horn player was such that it was Punto who was

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  • caprice-gallay
    solo in the aria O toi dont me memor in from opera that was being performed François Devienne s Les Visitandines Despite his developing career in his home town in 1820 Gallay travelled to Paris where he headed straight for Louis François Dauprat one of the leading horn players and the professor at the Paris Conservatoire Officially Gallay who was now twenty five was above the age limit to study at the Conservatoire but in the end an acception to the rules was made and it was agreed that he could study both horn and composition After graduation he became cor solo principal horn firstly at the Odéon Theatre and then in 1825 became cor solo at the Théâtre Italien Whilst this could be considered his main role he also played for the Chappelle Royale the Musique du Roi and the influentual Société des Concerts Au Conservatoire Gallay frequently appeared as a soloist often performing a number of his bravura compositions for horn His playing attracted glowing reviews from critics including Hector Berlioz He gained particular praise for his operatic vocal style his expression and musical grace and was deemed the equal of many leading operatic singers of his day

    Original URL path: http://www.annekescott.com/caprice-jfgbiog.html (2016-02-14)
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  • anneke-scott-kathryn-cok
    of their debut disc Sonatas for Horn and Fortepiano featuring music by Krufft Beethoven Haydn and Leidesdorf on the Challenge Classics Label 2012 will see many performances including their debut concert at the Purcell Room at Queen Elizabeth Hall London Having performed for festivals including The Buxton Festival The International Guildford Festival New Generation Arts Festival and The Suffolk Villages Festival Anneke and Kathryn have gained a reputation for their

    Original URL path: http://www.annekescott.com/askc-front-page.html (2016-02-14)
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  • caprice
    loose rein to his genius and submits himself to the fire of composition Jean Jacques Rousseau This one hour programme features the complete set of the Op 32 Douze Grands Caprices by the composer and horn player Jaques François Gallay 1795 1864 These works for unaccompanied natural horn were very much part of the 19th century vogue for virtuosic expressive solo works written by composer instrumentalists typified by the Paganini Caprices for solo violin These are dramatic operatic works that take the listener on a journey through a range of contrasting emotions Gallay was born in Perpignan in 1795 where his talents were spotted at an early age He later moved to Paris to study with the highly influential Louis François Dauprat at the Conservatoire where he won the Premier Prix After completing his studies he intially joined the Odéon Orchestra leaving soon afterwards to become cor solo principal horn at the Theatre Italien a post he held in conjunction with cor solo in the private orchestra of Louis Phillippe I It was in recognition of his achivements as a musician that he succeeded Dauprat not only at the Societe des Concerts but also as professor at the Conservatoire two

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  • mozart
    Mozart 1756 1791 Romance for horn and strings after the slow movement of Mozart Horn Concerto in E flat KV447 Wolfgang Amadeus Mozart 1756 1791 Horn Quintet in E flat KV407 i Allegro ii Andante iii Rondo Allegro INTERVAL Wolfgang Amadeus Mozart 1756 1791 String Quintet in g minor KV516 i Allegro ii Menuetto Allegretto iii Adagio ma non troppo iv Adagio Allegro Joseph Haydn 1732 1809 Divertimento à tre

    Original URL path: http://www.annekescott.com/mozart-horn-strings-programme.html (2016-02-14)
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