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Dear paladino friend,

We are excited to present the first issue of our new ePaper. Besides general information about music, composers and performers as well as news around the new paladino recordings and activities, you will find a number of regular colums where musicians share their experience and anecdotes.

We look forward to receiving your feedback about our new adventure, and I am sure that Herr-professor (see page ...) is happy to hear from fellow music loving dogs too.

The paladino team wishes you a happy Christmas!

content

paladino artist of the month: Boris Kucharsky, violin ................................................................ 3

Composer of the month: Wolfgang Amadeus Mozart ............................................................... 4

New recordings from paladino music and Orlando Records ..................................................... 6

paladino and Orlando artists live ............................................................................................. 7

How I met my teacher: Eric Lamb about Michel Debost ............................................................ 8

Handel‘s Messiah for full symphony orchestra ...................................................................... 10

Meet our distributors: Richard Winter, Gramola (Austria) ....................................................... 12

Herrprofessor‘s voice ............................................................................................................. 13

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paladino artist of the month

“He is a beautiful violinist, sensitive musician and deeply moving to listen to. Impeccable taste and polish as well as

deep feeling mark his performance.”

(Yehudi Menuhin)

Of Russian, Slovakian, German and Jewish origin, Boris Kucharsky was born in Dortmund, Germany, in 1971. At the age of seven he was given his first violin lessons, his great talent soon becoming obvious. In 1984 he was admitted to the Menuhin School, where Yehudi Menuhin himself took a special interest in the star pupil, partnering him in Double Concertos and directing the orchestra with his protégé as soloist. It was Menuhin who in 1990 conducted the first

Boris Kucharskyviolinist

photo: Sascha Kletzsch

performances of Beethoven’s Violin Concerto that laid the first foundation for Kucharsky’s reputation as one of the most interesting and captivating violinists of the present day. Other important contributors to Kucharsky’s development were Igor Ozim at the Musikhochschule in Cologne and Erick Friedman at Yale University.

His comprehensive repertoire extends from music of the early baroque era to that of the present day, several contemporary composers having written works for him. Boris Kucharsky’s concert activities take him to most parts of the globe, but – following in the footsteps of Yehudi Menuhin – he is also a passionate and highlyesteemed teacher. He is Professor at the Montclair State University in New Jersey and at Rutgers University in New Brunswick; since September 2013 he has been Principal Teacher at the Menuhin School, which he himself used to attend.

His violin is named after a previous owner, Baron Knoop, and was made by Carlo Bergonzi in Cremona in 1735.

www.boris-kucharsky.com

Boris Kucharsky and his long-standing duo partner, pianist Elizabeth Hopkins, have started a series of recordings with chamber music by Franz Schubert. The first recording with the Sonatas D 384, 385, 408 and 574 was released in November 2013.

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Wolfgang Amadeus Mozart

born: Salzburg, 26 January 1756died: Vienna, 5 December 1791

It seems that everything has been said about Wolfgang Amadeus Mozart, the composer who is as close to all gods as a human can ever be. Yet there are some aspects of him and his life that even musicians do not think about every day.

In 1862 Ludwig von Köchel, a law and history scholar, amateur musician and teacher of the sons of the Austrian archduke Karl, began to catalogue the works of Wolfgang Amadé Mozart. And this is where the problem starts already:

composer of the month

Wolfgang Amadeus Mozart‘s name was not “Amadeus“: we do not have a single signature of Joannes Chysostomus Wolfgangus Theophilus Mozart (which was the name he was given upon his christening), and only in three letters he uses the “Amadeus“ that became so common following the officially latinized entry in the death register - and these three instances appear to be joking. Usually he chose to translate his third name “Theophilus“ as “Amadé“, and his first few works were published under the name of “J. G. Mozart“ - “G“ for “Gottlieb“ (the German translation of “Theophilus“).

“Who cares?“ might be what you are thinking now - and yet it is not a mere curiousity. It is a sign for the fact that all research will never capture the real emotions and details of the life of W. A. Mozart. Which is exactly what happened to the Köchel-Verzeichnis that is now in its eighth edition of 1983 and constantly amended, adapted and added to by no less than five eminent musicologists over the last 150 years. The result is quite frankly a mess that no musician can ever follow, probably only exceeded by the state of the unfortunate register that Anthony van Hoboken compiled of the works of Joseph Haydn between 1957 and 1978.

While you are reading these lines, a work like the Menuet K 1 (1st edition), ie K 1e (6th edition) would already have passed. Not even the date of the composition of this little piece is clear: was Mozart five or eight years old when he wrote this piece? This, forgive me to say, I find completely irrelevant because the more music I know of Mozart,

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wolfgang amadeus mozart

the greater I find the miracle of his genius.

Let‘s jump to the year 1785. Mozart had reached the climax of his creative power and was everything else but the depleted genius. In today‘s currency his turnover of the Viennese years would be millions. Mozart, the concertizing and composing superstar, spent more money on candles that illuminated his billiard table with a specially constructed indirect lighting system per year than the majority of the working population of Vienna earned, and altogether lived an exuberant lifestyle: grand apartments, servants, instruments and their transports, clothes, wigs and cures for his beloved wife, gala dinners and what not. Yet: He was 29 (!) years young, finally sucessful and healthy - why would he have saved the money? He could not know that he was to fall fatally ill at 35. At such a lifestyle, one production that he had put a lot of money into, could easily flop and would then cause a shortage of money, as insurances of all kinds were not known at the time. Today we would call it “cashflow problem“. But real poverty? Never - that is a myth when it comes to Mozart. His concert fees were astronomical, and nobody would ever say of Michael Jackson that he led a “depleted“ life ...

Next station: 1788. This year, the one following Don Giovanni, is dominated by the last three Don Giovanni, is dominated by the last three Don Giovannisymphonies, by piano trios and sonatas and various smaller pieces. Mozart - never forget it! - was still only 32 years old. The Symphony in C, K 551 („Jupiter“) is the last of its kind, although other orchestral works such as La Clemenza di Tito, Die Zauberflöte, the Requiem and the Die Zauberflöte, the Requiem and the Die ZauberflöteClarinet Concerto were still to come. These last three symphonies were composed within two months only, their manuscripts dated 26 June, 25 July and 10 August, humiliating all following composers ... Their keys g minor, E Flat Major and C Major might be a reference Haydn‘s symphonies Nos 82 to 84, published as his op 51 in 1787. Another obeisance to his patron? It is an ironic turn that it was London where the impresario Johann Peter Salomon created the name „Jupiter“ for the last symphony in 1829.

Look at the identikit picture of Mozart of the German secret service, depicting his obsession. Schumann‘s command to “never jingle!“ seems naive compared to Mozart‘s urge. What remains? Maybe another answer to the question what caused Mozart‘s death: Too much life.

Martin Rummel

This article can be found online: http://www.paladino.at/en/people/wolfgang-amadeus-mozart

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pmr 0045schubertworks for violin and piano

or 0006stefan neubauersolitary changes

Schubert: Works for Violin and Piano

Franz Schubert: Sonatas for Violin and Piano D 384, 385, 408 and 574

Boris Kucharsky, violin | Elizabeth Hopkins, piano

“Two musicians who are said to play as one person” (Münchner Merkur) have recorded some of the most-loved pieces for violin and piano. Kucharsky has performed extensively with Elizabeth Hopkins, whose concert series at Gasteig in Munich has been an on-going success story.

Stefan Neubauer: Solitary Changes

Works by Alexander Stankovski, Jörg Widmann, René Staar, Zdzislaw Wysocki, Igor Stravinsky, Steve Reich, Yuki Morimoto, Günter Kahowez, Hans Erich Apostel, Robert Hall Lewis, Rainer Bischof and Eugene Hartzell

Stefan Neubauer, clarinet

A caleidoscope of music of the 20th and 21st centuries and a must for every lover of the clarinet.

new recordings

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paladino and orlando artists live

A Far Cry7 December - Boston, USA

Dimitri Ashkenazy*10 December - Geneva, Switzerland15 December - Bern, Switzerland

Christoph Eggner11 December - Fulda, Germany13 - Stolpe, Germany14 - Ulrichhusen, Germany

Florian Feilmair31 December - Eggenfelden, Germany

ensemble paladino3 December - Vienna, Austria

Howard Griffiths5 December - Cologne, Germany7 December - Potsdam, Germany8 December - Seelow, Germany13 December - Frankfurt, Germany14 December - Potsdam, Germany30 & 31 December - Frankfurt, Germany

Christopher Hinterhuber7 December - Mürzzuschlag, Austria8 December - Deutschlandsberg, Austria10 December - Vienna, Austria

Eric Lamb*25 December - Engers, Germany26 December - Engers, Germany

Ursula Langmayr*8 December - Vienna

13 December - Linz15 December - Salzburg

Alberto Mesirca6 December - Cittadella, Italy

14 December - Castelbrando, Italy21 December - Leiden, Netherlands

22 December - Weerselo, Netherlands

Northern Sinfonia1, 6, 14, 15, 23, 24, 27 December - Gateshead, UK

Quatuor Mosaïques13 December - Vienna, Austria

Martin Rummel*25 December - Engers, Germany26 December - Engers, Germany

Markus Schirmer14 December - Poznan, Poland

* member of ensemble paladino

For more and updated concert dates,please visit www.paladino.at frequently.

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I was very lucky to have studied with one of the greatest flutists and teachers of the 20th century, Michel Debost. I came to his class at 19, with one year of collegiate study under my belt and left just before turning 22. After the summer of 1997 I went for a road trip to Oberlin to visit friends and play for Debost. I honestly have no recollection of that first lesson other than him being a lot taller than I had expected. What I do however remember is that when our hour was up he walked upstairs to the office of admissions, I filled out the application and became a student of his the same day - no conversation, no official audition, no questions asked.

Up until that point I had always been a big fish in a little pond, that all changed at Oberlin. At the time the level was incredibly high not only in the flute studio and the Conservatory but across the entire College. It was an intense, intellectually charged, liberal thinking place and I was very ready to take it all in. I took a few classes in the College but mostly focused on flute playing and chamber music. My lessons and his Parisian art at the beginning were a mystery to me. Debost didn’t spoon feed students and I was totally unprepared for controlled autonomy. I remember also being perplexed by his obsession with technique, exercises and his approach to them, which he never explained to me. One day I walked in after a few really inspired lessons on Bach Cantata’s Bach Cantata’s and he went at me full force.

how I met my teacher

Eric Lamb was born in Detroit in 1978. His teachers include Michel Debost, Thaddeus Watson, Chiara Tonelli and Vicens Prats. After six years as flutist of ICE (International Contemporary Ensemble) in New York, he is now living in Vienna and is is in demand internationally as a soloist, recitalist, concert curator and chamber musician.

Eric LambStudent at Oberlin Conservatory from 1997 to 2000Photo: Nancy Horowitz

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Michel DebostProfessor at Oberlin Conservatory from 1989 to 2011

Photo: Chris Leck

Michel Debost was born in Paris in 1934. He was a student of both Gaston Crunelle and Marcel Moyse. He won all of the major international competitions of his time and served for 30 years as solo flutist of the Orchestre de Paris. Debost was for many years professor at the Conservatoire de Paris before joining the faculty of Oberlin Conservatory, a position he held until his retirement in 2011.

eric lamb about michel debost

I had no idea what he wanted from me and he made it really clear that I had better figure it out very fast. I asked around and couldn’t seem to get a satisfactory explanation from my classmates. Over the next months he guided me, in his old school Conservatoire way, through the French school of flute playing. It was the process, not the result that Debost wanted to have me experience. His rationale being that if you can figure it all out now then you can spend the rest of your time enjoying life and becoming a good person and colleague. More weeks of frustration followed and I managed to pull myself together and learn, from memory, all of the detailed technical exercises that I still play today, every morning, like clockwork. After I figured out all the flute dogma, just like he predicted, the real fun began. I could consistently and stably execute most everything I needed to in my daily student performing life, go figure!

Just by being his hilarious and genuine self, he inspired me to want to go out in the world and make music. I left Oberlin in 2000 and have seen him only a few times since, mostly in Paris. We’ve kept in loose email contact (just the image of him hovering over his laptop makes me smile) and shortly before his retirement from teaching he extended an invitation for me to teach his class.

I am incredibly thankful for his artistry and generosity.

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George Frideric Handel: “Messiah” HWV 56

Version for full symphony orchestra by Sir Eugene Goossens(1959)

Orchestration:3 flutes (3rd also piccolo) | 4 oboes (4th also cor anglais) | 2 clarinets |2 bassoons | contrabassoon | 4 horns | 2 trumpets | 3 trombones |tuba | timpani | percussion (3 players) | harp | soloists | choir | strings

pm 0038

score and orchestra parts for hire

Sir Eugene Goossens‘ orchestration of Handel‘s Messiah was composed in early 1959, and the score is in his and his companion Pamela Main‘s handwriting. The initiative for this venture came from Goossens’ former mentor Sir Thomas Beecham, who wished to record the work with a twentieth-century symphony orchestra. He chose Goossens as a composer of symphonies, operas and oratorio who was also an internationally celebrated conductor. He was to orchestrate the main body of the work but not to include those numbers known as Appendix, which are usually omitted in performance.

It would seem that Beecham had miscalculated the overall timing, and presumably had to introduce the Appendix in order to make a reasonably-filled concluding vinyl disc. But there were no matching orchestrations available, and time was pressing. Whatever the reason, Sir Thomas regrettably resorted to a sublimely concealed hotch-potch, using some Ebenezer Prout orchestrations, and also Straussian songs written for him in 1947 by the then-young conductor Norman Del Mar. This was all passed off as being by Goossens who was completely ignorant of the circumstance, as indeed was Del Mar.

new from paladino

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Sir Eugene Goosens

(1893 - 1962)

Born in London as the son of the Belgian violinist Eugène Goossens, he also first trained as a violinist and played in Sir Thomas Beecham’s Queens Hall Orchestra before changing to conducting. He conducted the British premiere of Le Sacre du Printemps in1921 and subsequently lived in the US and Australia until 1956. After being caught at the Sydney airport with what was considered to be “pornographic material” (photos, books, rubber masks and such) in connection with his intense love affair with Rosaleen Norton, the so-called “Witch of Kings Cross”, he was forced to resign from all public positions. Goossens died in England in 1962.

the“messiah” for full orchestra

One passing-off often presages another, and whilst he was about it, Sir Thomas also substituted for Goossens the two remaining 1947 Del Mar orchestrations, specifically Nos 32 and 38, which he therefor did not have to learn anew. Goossens’ No 38 was even excised from photocopies supplied for performances in Australia in 1980, but having been recently printed is now restored to the present score. Goossens never heard his orchestration: hence his unawareness of Beecham’s shadowy shenanigans.

Goossens’ manuscript and orchestral material were for many years kept unseen in an attic by Beecham’s widow. Even when Karajan tried to obtain the orchestral parts for performance, “they were nowhere to be found”, according to his biographer Osborne, and a Japanese choral society asking to perform this orchestration even received a solicitor’s letter refusing any sight of the score. As the actual copyright had been inherited by Pamela Main, this was indeed curious! The manuscript was then mysteriously sold to the University of Sheffield and subsequently published by Meriden Music. In 2013, paladino media acquired the publisher’s copyright to the work. The eventual aspiration is to print the complete score exactly as Goossens intended.

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Richard Winterowner & CEO of Gramola, Winter & Co

in his shop at Graben 16, Vienna

Austria: Gramola

When paladino was founded in Vienna in early 2009, the natural first step was to approach Richard Winter for distribution in Austria. Since his company had also been one of the earliest distributors for Naxos, there was no need for paladino to change when joining the Naxos dist-ribution network in 2010. Gramola and paladino owners Richard Winter and Martin Rummel are linked on many levels: Rummel‘s first CD as a cellist was published by Gramola in 1994, and together they founded the Vienna Music Group, an association of the Austrian Independent Vienna Music Group, an association of the Austrian Independent Vienna Music GroupLabels, in 2011.

Gramola was founded in 1924 as a distributor of the Czech-English record label “Gramola”, which went into bankrupcy following the big economic crisis of 1929 one year later. Subsequently “His Master’s Voice” was founded, and Gramola Vienna became its Austrian distributor. One of the sixteen still existing original paintings of the legendary dog “Nipper” listening to his master’s voice can still be seen at the company’s shop at Graben in Vienna. Today Gramola is the oldest Austrian record selling company and run by the fourth generation of the same family.

The company has repeatedly held top postions in international rankings of the world’s best shop for classical records, and the store at Graben in Vienna is a gem of art deco interior design created by Albert Bechtel. It was used for various film and photo shootings, such as for the visit of the Mayor of New York, Rudy Giuliani, in 2003.

In recent years, Richard Winter and his team have specialized in producing, selling and distributing CDs and DVDs and are the Austrian distributors for a large number of major international labels such as Arthaus, ASV, BBC Opus Arte, Capriccio, Chandos, Dacapo, Dal Segno, Hyperion, LPO, Marco Polo, Melba, Melodya, Naxos, Nightingale Classics, Orfeo, Pentatone, Supraphon, Tudor and many more - such as both our labels, paladino music and Orlando Records.

www.gramola.at

meet our distributors

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Ladies and gentlemen, dear paladino friend, meet herrprofessor! Born on 27 September 2013, he will probably acquire a capital H for his name when he is grown up. Other than that, herrprofessor is a city hound, chamber music mascot and lover of Mozart, chew toys and Schubert.

It has only been a few days since I moved to Vienna from my lovely safe home in Burgenland, and I am still struggling with trying to understand how life functions in this weird place. Well, it is nice and warm where I live now, but why do they drag me out into the freezing cold for Number One and Number Two all the time? Ten times yesterday. Ten!!! Ha, but I won in the end: once, when nobody looked, they had to wipe the floor.

There is a lot of noise in this weird city. Cars, humans talking to each other all the time and strange machines that reproduce all sorts of pictures and noise. But, I must say, they are all very kind here in Vienna, greeting each other in the street. But why are so many humans having the same name as me? I wonder if they all have a capital H.

And then there is lots of what they call “music” in the house, people coming in and out, hooting into pipes, scratching wooden boxes and pressing buttons on a black box. Sometimes they do some namedropping. Schumann, Schubert - great, especially as the first part of their names is something chewable. Mozart, mmh. Anything “zart” is great. Schönberg I find not so schön, but I guess that’s the price I have to pay for the warmth.

I’ll comment on some of this paladino nonsense once I have understood what it is about. When I am totally bored and have a paw free not covering my ears, I’ll also tweet. Follow me @professorbeagle. Woof woof!

herrprofessor‘s voice

imprint:

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design: brigitte fröhlichlayout: paladino media gmbheditor: martin rummel