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DUO PLEYELALEXANDRA NEPOMNYASHCHAYARICHARD EGARR Jonathan Freeman-Attwood

Anna Szałucka

Four Trumpet Sonatas

after Mozart created by Timothy Jones

Credits

Tracklist

Programme note

Biographies

Four Trumpet Sonatas after Mozart created by Timothy Jones

JONATHAN FREEMAN-ATTWOODANNA SZAŁUCKA

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Recorded in St Mary’s Church, Pyrton, Oxfordshire, UK,in November 2020

Recording Producer & EngineerPhilip Hobbs

Post-productionJulia Thomas

Designstoempstudio.com

Label ManagerTimothée van der Stegen

Cover Image‘Fire in the Evening’ (1929) by Paul Klee (1879–1940)Bridgeman Images

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Sonata No. 3 in E flat major modelled on mid-period theatrical pieces with thematic references to

K. 383, K. 420, K. 422, K. 430, K. 431, K. 528, K. 578 & K. 583

1 — Largo – Molto allegro 7:47

2 — Adagio 7:47

3 — Allegretto – Tempi di menuetto – Allegretto 7:57

Sonata No. 2 in B flat major after Piano Sonata in D major ‘Dürnitz’, K. 284 4 — Allegro 5:02

5 — Rondeau en Polonaise: Andante 4:31

6 — Andante (Theme and Variations I–XII) 7:18

75:31Four Trumpet Sonatas after Mozart conceived by Jonathan Freeman-Attwoodcreated by Timothy Jones JONATHAN FREEMAN-ATTWOOD

trumpetANNA SZAŁUCKA piano

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Sonata No. 4 in F major modelled on late violin sonatas, K. 481 & K. 526,

with thematic references to the songs K. 390, K. 468, K. 473, K. 518, K. 524 & K. 597

7 — Allegro vivace 6:02

8 — Andante 7:24

9 — Allegretto 8:32

Sonata No. 1 in D major after church music, K. 165, K. 225, K. 244 & K. 393

10 — Allegro 4:22

11 — Adagio 4:42

12 — Allegro 3:43

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MENUFour Trumpet Sonatas after MozartThe court trumpeter to the Prince Archbishop in Salzburg, Andreas

Schachtner, wrote to Mozart’s sister Maria Anna on 24 April 1792, a year after the composer’s death:

Wolfgang was, until he was nine, terrified of the trumpet when it was played alone … merely to hold a trumpet in front of him was like aiming a loaded pistol at his heart. His papa wanted to cure him of this childish fear and once ordered me to blow my trumpet at him … But, O! that I had not been induced to do it. Wolfgang scarcely heard the blaring sound, when he grew pale and began to collapse. If I had continued he surely would have had a fit.

These four sonatas ‘by’ and ‘after’ Mozart represent a belated apology to the composer on behalf of all trumpet players. Had the trumpet been so technically equipped from the 1770s onwards as to offer chromatic lyricism in all its registers (and players with the musical sensibilities to match), is it too far-fetched to imagine that Mozart would have written the first great chamber music for the trumpet, and adopted the kind of pioneering spirit he employed so gratifyingly with the clarinet? Would the sound of the trumpet with its modern capabilities have mollified rather than tormented the young boy?

Even with the Pythagorean limitations of the valveless ‘natural’ trumpet, Mozart was reputedly commissioned as a twelve-year old to write a trumpet

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MENUconcerto (K. 47c) – now lost – and possibly inspired by his father Leopold’s popular example from six years earlier. Even as an instrument with a limited punctua-ting textural role in symphonic canvases, Mozart often writes beyond its military conceits: how subtly calculating are those single placed notes in the opening pedal of Symphony No. 39, K. 543, or the burnished anticipation in the special sonority of the trumpet in Fiordiligi’s great set-piece aria ‘Come scoglio’ from Act 1 of Così fan tutte.

As an extension to similar recorded projects for Linn of re-imagined trumpet and piano repertoire from Monteverdi to Richard Strauss, this programme follows the objective of expanding trumpet chamber repertoire with four classical-style sonatas, drawing on varied styles and periods in Mozart’s music. The collabora-tion has involved a trumpet player ‘commissioning’ a Mozartian muse to act as musicologist, composer and arranger, and to devise music which is true to these styles and periods. It exhibits canvases from the Salzburgian church sonata to the strutting swagger of a twenty-one-year-old pianist-composer in Munich and two large mid- and late-sonatas from the golden Viennese years.

In these two final works, our Mozartian muse draws broadly on set models and, specifically, on extant Mozart fragments and other referenced material from the composer’s oeuvre. As you can read below, each of the four sonatas offers a different balance of creative engagement, depending on the starting point. As a general rule, Mozart’s materials have been carefully rewor-ked and amplified to try and achieve the fluency and expressive subtlety of the composer’s violin sonatas, and then inflected with idiomatic trumpet writing.

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MENUThe four sonatas, together, make a contrasting set by alluding to the archetypal late-eighteenth-century distinctions between music for the church, the domestic sphere, theatre and the emerging salon culture.

Sonata No. 1 in D major takes as its starting point Mozart’s ‘Epistle’ sonatas of the early 1770s. The first movement is a sonata allegro that juxtaposes the-mes from the Epistle sonatas in A major, K. 225, and F major, K. 244, with a newly composed development section in what might these days be called a ‘mashup’. The second movement amplifies Mozart’s Solfeggio, K. 393 (which the composer reworked as the ‘Christe’ section in the opening movement of his Mass in C minor, K. 427). The third movement makes a rondo out of the ‘Alleluia’ finale of the motet Exsultate, jubilate, K. 165. In each of the movements, small adjustments are made to harmony, counterpoint, voice leading and form to bring them all in line with Mozart’s style from, largely, his pre-Vienna period. Throughout, textures have had to be reconfigured or invented to make them suitable for the medium.

Sonata No. 2 in B flat major is a transcription of Mozart’s Piano Sonata in D major ‘Dürnitz’, K. 284, augmented with ‘the accompaniment of’ a trumpet. The relationship between the new text and the original has been modelled on late-eighteenth-century publications that added an independent violin part to a Mozart piano sonata. The ‘Dürnitz’ Sonata is the grandest, most symphonic sonata Mozart composed in the 1770s. Its opening sonata allegro has all the panache of the composer’s most brilliant symphonies from that period. The following Rondeau en Polonaise has a particularly operatic sensibility, and the closing set of variations is the longest (though done without repeats here!) and most virtuoso that Mozart ever wrote.

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MENU Sonata No. 3 in E flat major follows the form and style of the violin sona-tas Mozart composed in the middle years of his Viennese decade. It begins, like several of the violin sonatas, with a slow introduction, followed by a symphonic Allegro. The slow movement is like an elaborate aria, but with conversational give and take between the piano and trumpet. The rondo finale begins like a contre-danse, but its central episode includes a lyrical dream-like minuet that echoes in the movement’s closing bars. In this sonata, all the themes are drawn from a mashup of Mozart’s concert arias and insertion arias. In the latter case, these are arias he wrote either as substitute numbers for other people’s operas, music for his own unfinished operatic projects, or arias gifted to singers for benefit concerts. There is, then, something highly theatrical about the tone of the piece; it has been conceived in the style of Mozart’s instrumental music from the mid-1780s, and draws its formal and rhetorical features from several pieces he composed in 1785 and 1786.

The thematic sources are as follows:

Movement 1:

Bars 16–23: ‘Alma grande e nobil core’, K. 578 (Aria for soprano and orchestra for Act 1 Scene 8 of Domenico Cimarosa’s I due baroni)Bars 26–27: No. 2 from L’oca del Cairo, K. 422Bars 61–64: ‘Per pietà, non ricercate’, K. 420 (Aria for tenor and orchestra for Act 2 Scene 4 of Pasquale Anfossi’s Il curioso indiscreto)

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Bars 1–2: ‘Misero! o sogno … Aura che intorni spiri’, K. 431 (Recitative and Aria for tenor and orchestra)Bars 3–4: ‘Bella mia fiamma … Resta, o cara’, K. 528 (Recitative and Aria for soprano and orchestra; text [Michele Sarcone] from Niccolò Jommelli’s Cerere placata)Bars 12–13: K. 431Bars 15–16: K. 528Bars 17–18: ‘Vado, ma dove?’, K. 583 (Aria for soprano and orchestra for Act 2 Scene 5 of Vicente Martín y Soler’s Il burbero di buon cuore)Bars 23–30: K. 528Bars 34–38: K. 583Bars 55–57: K. 431

Movement 3:

Bars 1–16: No. 6 from L’oca del Cairo, K. 422Bars 16–23: ‘Nehmt meinen Dank’, K. 383 (Aria for soprano and orchestra)Bars 46–50: K. 420Bars 64–75: No. 1 from L’oca del Cairo, K. 422Bars 75–77 and 87–95: No. 2 from L’oca del Cairo, K. 422Bars 154–209: Overture from Lo sposo deluso, K. 430

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MENUSonata No. 4 in F major is modelled on Mozart’s late violin sonatas, espe-

cially K. 481 in E flat major and K. 526 in A major. Following the example of several late instrumental pieces by Mozart, this sonata is based on themes from the com-poser’s songs. The first movement (like that of K. 526, a brisk gigue) takes themes from late songs that are in : ‘Die Zufriedenheit’, K. 473, and ‘Die Verschweigung’, K. 518. The second movement is a set of seven variations on ‘Ich würd’ auf mei-nem Pfad’, K. 390. The finale is an extended sonata rondo whose refrain amplifies the main theme of ‘An Chloe’, K. 524, and whose second subject is the melody of Mozart’s very last song ‘Im Frühlingsanfang’, K. 597, combined with the opening theme of ‘Lied zur Gesellenreise’, K. 468.

© Jonathan Freeman-Attwood & Timothy Jones, 2021

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MENUJonathan Freeman-Attwoodtrumpet

Jonathan Freeman-Attwood is the fourteenth Principal of the Royal Academy of Music, London, a post he has held since 2008. His commitment to education spans over thirty years, within which time he has also established himself as a recording producer, freelance trumpet player, writer and broadcaster. In the early years of his career, he was awarded the Healey Willan Memorial Scholarship at the University of Toronto, from which he graduated with First Class Honours, before embarking on research at Christ Church, Oxford.

From 1991 to 1995, Freeman-Attwood served as Dean of Under-graduate Studies at the Royal Academy of Music, then thirteen years as its Vice-Principal and Director of Studies. In 2001, he was conferred Professor of the University of London. For over a quarter of a century in senior posts at the Academy, he has played a leading role in launching pioneering programmes, and fostering major international relationships. He has been instrumental in nurturing a twenty-year collaboration with The Juilliard School in New York as well as masterminding several major artistic and professional development initiatives, including the founding the Academy’s recording label in 1997.

As a trumpet soloist, Freeman-Attwood has released eleven solo albums, the majority of them with Linn, and they have attracted wide critical acclaim for their musical originality and effective re-imagining of the trumpet as a chamber instrument in reconstructions of works from around 1600 to the

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twentieth century. He is Series Editor for Resonata Music’s ‘The Re-Imagined Trumpet’ in which, amongst other pieces from his catalogue, newly configured sonatas by Schumann, Mendelssohn and Fauré have been published. In 2020, he published with composer Thomas Oehler a sonata ‘after Richard Strauss’ for Boosey & Hawkes, recorded for Linn as part of ‘The Viennese Trumpet’.

Freeman-Attwood has produced over 250 commercial recordings for many of the world’s most prestigious independent labels. His productions have won major awards, including several Diapasons d’or, Gramophone Awards and num- erous nominations over the last twenty years with artists and ensembles inclu- ding Rachel Podger, The Cardinall’s Musick, Trevor Pinnock, Phantasm, La Nuova Musica, I Fagiolini, Orchestra of the Age of Enlightenment, Daniel-Ben Pienaar, and various leading cathedral choirs, including St Paul’s Cathedral and Christ Church Cathedral, Oxford.

As an educator and scholar Freeman-Attwood continues to be active as a lecturer, critic, and contributor to journals (including Gramophone since 1992) and publications such as The New Grove Dictionary of Music and Musicians (2001, second edition) and The Cambridge Companion of Recorded Music, as well as broadcasting regularly on BBC Radio 3. He is an established authority on Bach interpretation.

Freeman-Attwood is a trustee of Christ Church Cathedral Oxford Music, the Associated Board of the Royal Schools of Music (ABRSM), the Countess of Munster Trust, the British Library’s SAGA Trust and Garsington Opera (where he is Chair of the Artistic Advisory Committee). He is also on the

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Advisory Board of the Academy of Ancient Music, Patron of London Youth Choirs and he holds fellowships at the Royal College and Royal Northern College of Music as well as King’s College London and Toyko University of the Arts, Geidai. Freeman-Attwood was appointed CBE in the New Year’s Honours List in 2018.

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MENUAnna Szałuckapiano

Anna Szałucka is a busy Polish pianist living in London. After studying at the Royal Academy of Music under Ian Fountain and later being mentored by Dame Imogen Cooper, she won the First Prize together with four Special Awards at the 3rd Tallinn International Piano Competition in 2016. During her studies in London she was awarded The Worshipful Company of Musicians – Harriet Cohen Bach Prize. She was also a finalist at the Karol Szymanowski International Music Competition in Katowice.

Szałucka released a debut album with Naxos, celebrating Polish music of the twentieth century and including a world premiere of Górecki’s Piano Sonata. She has given numerous concerts and recitals around the world, collaborating with such institutions as The Fryderyk Chopin Institute, Wiener Beethoven-Gesellschaft and The Arthur Rubinstein International Music Society, as well as BBC Radio 3, BBC Radio 4 and Classic FM. She has performed with the Estonian National Symphony Orchestra, National Polish Radio Symphony Orchestra, Polska Filharmonia Sinfonia Baltica and Górecki Chamber Orchestra.

Szałucka was awarded the Ministry of Science and Higher Education Prize and Ministry of Culture and National Heritage Prize in Poland for outstanding achievements in music in 2014.

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MENUTimothy Jones

Since 2013 Timothy Jones has been undertaking detailed analyses of Mozart’s late fragments and making multiple completions of some of them. So far this has led to over 70 new completions of some 30 fragments, including the Requiem, concertos for horn, oboe, and violin and piano, a sinfonia concertante for violin, viola and cello, string quintets, quartets and trios, clarinet quintets, piano trios, violin sonatas and keyboard music.

In 2008 he joined the staff of the Royal Academy of Music in London where he is currently the Deputy Principal and a University of London Professor. He is committed to public engagement and has been a speaker at many events at leading London venues. He is a contributor to the ‘Proms Plus’ talks and ‘Opera on Three’ on BBC Radio 3. In 2016 he made five programmes for the NHK television series ‘First Class’ which broadcasts lectures from the world’s leading universities.

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MENUAlso available on Linn

‘This series of boundary-busting discs for Linn’

– BBC Radio 3 Record Review

‘Freeman-Attwood’s brilliant high lines and judiciously-vibratoed

singing prove companionable for the whole duration’

– BBC Music Magazine

CKD 621Jonathan Freeman-AttwoodChiyan WongRichard Strauss and the Viennese Trumpet

CKD 588Jonathan Freeman-AttwoodDaniel-Ben PienaarAn English Sett for Trumpet

CKD 448Jonathan Freeman-AttwoodDaniel-Ben PienaarThe Neoclassical Trumpet

CKD 418Jonathan Freeman-AttwoodDaniel-Ben PienaarA Bach Notebook for Trumpet

CKD 370Jonathan Freeman-AttwoodDaniel-Ben PienaarRomantic Trumpet Sonatas

CKD 310Jonathan Freeman-AttwoodDaniel-Ben PienaarTrumpet Masque

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CKD 370CKD 418 CKD 310

CKD 448CKD 588CKD 621

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