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  • caprice
    was a fan Valved horns were starting to appear in Germany but Gallay remained loyal to the hand horn later composing scores of solo works for the instrument The instrument s pitch is determined by the length of the crook inserted Gallay never specified which keys he required leaving it to the discretion of the performer Playing these pieces on a modern instrument is difficult enough Hearing them performed with this much panache on an unvalved horn built in 1823 is astonishing Anneke Scott s playing is bold and dramatic Gallay s theatrical background reflected in the music s swagger These short pieces are essentially technical studies but they re consistently entertaining Wisely Scott doesn t attempt to minimise the difference between the horn s pinched nasal stopped notes and the breezy natural harmonics making the instrument sound much more natural much more human The faster moments are incendiary I m addicted to the flamboyant opening flourish of the fourth of Gallay s Douze Grands Caprices Scott has sequenced these short works neatly and several of the slower more reflective Préludes provide relief from the pyrotechnics It s wonderful and appears on the Resonus label which means that it s a download only But it s reasonably priced brilliantly recorded and comes with an excellent sleeve note In The Horn Player vol 9 no 3 winter 2012 2013 CD REVIEWS Jacques François Gallay Preludes Caprices Fantaisies Anneke Scott natural horn Resonus RES10114 In 2010 Anneke Scott was awarded a Gerald Finzi Scholarship to do research work in Paris into the works of Jacques François Gallay This CD is one product of this research Her performance of three Gallay works at the BHS Festival in Cardiff this year certainly made a big impression on those who heard them It was not only the facility of her playing but also the quality of her sound dynamic range and musicianship on this CD she plays a cor solo of 1823 made by Marcel Auguste Raoux loaned to her from the Bate Collection in Oxford It is interesting to note that Marcel Auguste Raoux played with Gallay during the period he was solo horn of the Théâtre Italien Gallay was the last major hand horn figure in France He had succeeded his teacher Dauprat first at the Société des Concerts in 1841 and again in 1842 as natural horn professor at the Conservatoire Berlioz was a great admirer of Gallay s playing and was one of many to comment on the brightness of his tone the security of his attack and the evenness of his sound between open and stopped notes One of Anneke s teachers was Claude Maury now the hand horn professor at the Conservatoire so it is fitting that she has made this recording Many of us will remember our introduction to Gallay as students perhaps as I was via his Préludes mésurés et non mésurés I remember that at the time I found them difficult to understand It was only

    Original URL path: http://www.annekescott.com/caprice-review.html (2016-02-14)
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  • caprice-finzi
    to learn more about the instrument the music and musicians of the time One of the many musicians he introduced me to was Jacques Francois Gallay and in particular his Douze Caprices for solo horn These are wonderfully versatile pieces and were especially useful for the mixed chamber music concerts that were a frequent occurrence on the courses giving us students something to really get our teeth stuck into Immediately I was grabbed by these works Partially the early attraction was the unavailability of them they are hugely technically demanding works the goal of making music out of something so challenging but from the outset there was an operatic heartbeat that drove these works The Caprices share elements with other major works for solo unaccompanied instrument in that the performer has to infer the accompaniment Each work seemed to me to have a different character a different scene maybe a solo aria maybe a Terzetto in a larger work You can smell the opera house in each bar What intrigued me was how I could present these works to an audience Would the set work on their own Cellists have their Bach and violinists their Pagannini both works which seem to have no historic precedent for being performed in their entireity yet both have become cannons of modern programming A crucial factor was the technical challenge A number of horn playing colleagues the joys of facebook questioned me on the lead up to my first performance of the set checking whether they had got it wrong as they had heard I was proposing to perform the whole set The Caprices and the challenges involved in introducing them to an audience had bothered me since these student days and in 2010 I was fortunate enough to receive a Finzi scholarship that supported me in finding out how I could do this The Gerald Finzi Travel scholarship was founded in 2005 in memory of the English composer after which it was named The Scholarships aim to give opportunities for artists to broadening horizons or to explore new paths their focus is arts based in the widest sense but proposals must have a musical foundation The application process required that quickly I clarified my thoughts and come up with a coherent and cohesive plan I must admit in retrospect that a driving force had been wanting to do a project close to my heart and refocus on what was important to me and very quickly my Gallay Project took shape The initial proposal was simple A month in Paris improving my French translating Gallay s method into English visiting the Bibliotheque Nationale and working the Caprices into a managable recital programme The Finzi trust in addition to their essential financial support posed pertinent questions at various stages of their selection process encouraging me to think long and hard about what I was proposing and therefore helped the success of the project The Bate Collection of Oxford were incredibly generous in lending me their

    Original URL path: http://www.annekescott.com/caprice-finzi.html (2016-02-14)
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  • discography
    DISCOGRAPHY BACK

    Original URL path: http://www.annekescott.com/discography.html (2016-02-14)
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  • history
    the key of the instrument terminal crooks were added to the instrument lengthening or shortening the instrument and thereby changing the overall pitch During the mid 18th century the development of hand technique revolutionised the instrument By inserting the hand traditionally but not exclusively the right hand into the bell of the instrument and to different degrees stopping the air flow it became possible to create notes in between the notes of the harmonic series This new technique led to an explosion of compositions for the horn Germany and Bohemia which had been the breeding ground for virtuosity since the early 18th century buzzed with activity Mozart and Haydn writing concerti for the instrument Horn players became superstars and toured Europe to wide acclaim When the hand horn virtuoso Giovanni Punto premiered Beethoven s Horn Sonata it was written in the Offner und Pesther Taschenburch 7th May 1800 Today Academy of Herr Beethover and Herr Punto Who is this Beethoven Such a name is not known in German musicla history Putno is of course very well known The instrument was also celebrated in France where it became an integral part of the Concert Spirituel and where many of the most

    Original URL path: http://www.annekescott.com/read%20-history.html (2016-02-14)
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  • paris
    is nonetheless the most beautiful of wind instruments in its timbre and the quality of its sounds and the emotion which it awakens has a charm that it is admitted none can resist Louis François Dauprat 19th century Paris was a hotbed of viruosic horn players The foundation of the Paris Conservatoire had it s roots in the promotion of wind playing and cultivated a number of virtuosic professors and

    Original URL path: http://www.annekescott.com/askc-prog-paris.html (2016-02-14)
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  • moscheles
    Moscheles Feuilet Moscheles Parody on a theme of Rossini Rossini Prelude Theme and Variations Nice quote nice quote nice quote nice quote nice quote Ignaz Moscheles Disproving the accusation of being entirely Das Land ohne Musik early 19th century England was a mecca for musicians from all over Europe The concert going public s voracious appetite for the latest talents made London an attractive destination for a new breed of

    Original URL path: http://www.annekescott.com/askc-prog-moscheles.html (2016-02-14)
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  • napoleon
    but many of Beethoven s closer friends saw this symphony on his table beautifully copied in manuscript with the word Buonaparte inscribed at the very top of the title page and Ludwig van Beethoven at the very bottom I was the first to tell him the news that Buonaparte had declared himself Emperor whereupon he broke into a rage and exclaimed So he is no more than a common mortal Now too he will tread under foot all the rights of man indulge only his ambition now he will think himself superior to all men become a tyrant Beethoven went to the table seized the top of the title page tore it in half and threw it on the floor The page had to be re copied and it was only now that the symphony received the title Sinfonia Eroica Ferdinand Ries In 1804 Ferdinand Ries friend and biographer of Beethoven and a pianist and composer in his own right broke the news to Beethoven of Napoleon proclaiming himself Emperor of the French Beethoven s violent reaction is often recounted with him tearing off the title page of his fresh symphony dedicated Napoleon declairing him a tyrant and rededicating the

    Original URL path: http://www.annekescott.com/askc-prog-napoleon.html (2016-02-14)
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  • lieder
    sais modifier l action du souffle jouer à demi jeu et cependant faible ou fort le son est toujours le même il n y a de différence que dans le degré d intensité tandis que sur le Cor c est une autre voix qui chante une voix qui répond à la première et qui ne lui ressemble en rien il y a opposition de force opposition de chant Jacques François

    Original URL path: http://www.annekescott.com/askc-prog-lieder.html (2016-02-14)
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