Mozart left to horn players a lasting legacy of iconic works. Like double bass players, constantly being asked if they ‘had wished they played the flute’ – strangers whistle the opening bars of the famous Rondo of KV 495 to horn players innocently wishing to go about their business. Either that, or they sing ‘I found my horn, gorn,’ in the immortal words of Michael Flanders.
Celebrating the launch of their latest disc, Mozart: Stolen Beauties (ABC Classics), Anneke Scott (natural and piston horns) and leading Australian period instrument ensemble Ironwood take as their central point one of Mozart’s most memorable works for horn – the Quintet in E-flat major, KV 407. Rather than choosing the more common path of combining this work with a number of other late 18th- and early 19th-century works for horn and strings, selected from the many unfairly neglected and long forgotten composers of the time, they illustrate the various ways in which Mozart’s works have been ‘appropriated’ for the horn, or, in one case how Mozart ‘appropriated’ a work for himself. The repertoire offers us the opportunity to explore the lives of three star horn players from the 18th and 19th centuries – Joseph Leitgeb, Giovanni Punto and Giovanni Puzzi, as well the latter’s pupil, Barham Livius, an amateur horn player and London entrepreneur. During this period we also witness some of the most masterful writing for the Classical natural horn (also known as the hand horn) and start to see the early use of valves.
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St George's Church, Hanover Square
St George Street
London
London
W1S 1FX
England
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