Anneke Scott on Danzi's horn sonata Op. 28, a world beyond Beethoven, Lowell Greer and Franz Stöhr скачать в хорошем качестве

Anneke Scott on Danzi's horn sonata Op. 28, a world beyond Beethoven, Lowell Greer and Franz Stöhr

Here's my latest addition to the ever increasing collection of fortnightly videos as part of my #CornoNotCorona project. You can watch the performance of this week's piece (the Larghetto from Franz Danzi's Sonata in E flat, Op.28) here    • Anneke Scott performs the Larghetto from F...   I got this horn out the other week mainly as one of my students has one and, as we’re all teaching remotely on line, it was helpful for me to have it to hand so that we could work on some aspects of hand technique using the same equipment. I love this instrument and it’s a pity I don’t get to play it that often. This is an instrument made by one of my big heroes Lowell Greer. Lowell was a major influence on me - especially his recordings of Mozart and Brahms on natural horn, very much recommended listening. Lowell also built horns and this is one of his instruments based on a horn by Franz Stohr of Prague. It’s quite a bit bigger than some of my other instruments and uses a system of crooks known as the master crook and coupler system. This works by having a small number of master crooks and then using a series of couplers of different sizes to lower the pitch of the master crooks. It’s pretty standard for a natural horn player to need everything (more or less) from C alto through to Bb basso. We have crooks for C alto, B alto is rare but not unheard of, A alto, Ab alto is a little specialist, G, F sharp is again rare, but then we have F, E, Eb, D (Db is rare), C, B (relatively rare), and Bb basso. If you’re playing, say a Mozart opera, you’d expect to be using at least, nine crooks. With this system instead of having to have an independent crook for every single key, you use maybe two or three master crooks and then the couplers. The advantage is it’s compact and can be very flexible the disadvantage is you really need to know what combinations adds up to what key and you need to be able to do this quickly and accurately in performance. A few weeks ago I had a new disc come out entitled “Beyond Beethoven” (you can find it here: https://www.resonusclassics.com/beyon...) - this disc features compositions from Beethoven’s circle of works for fortepiano and piano. Part of the reason for this recording is a slight frustration I have about how frequently people perform the Beethoven Sonata Op. 17. For a lot of horn players it’s the first and sometimes only piece they learn on the natural horn - the key being familiar and it being such a well known work. But we have tonnes and tonnes of other pieces that are much less frequently performed. The two Danzi sonatas are great pieces - I have a particular soft spot for the E minor sonata mostly because of its unusual tonality. I recorded both sonatas with Steven Devine and ensembleF2 (recordings can be found here https://www.devinemusic.co.uk/product.... I’m playing this week the Larghetto movement of the Op. 28 sonata in Eb. This work was published in 1804, so only a few years after the Beethoven Sonata. There’s an extensive review of it in the Allgemeine Musikalische Zeitung which deemed this combination of instruments as “extraordinarily lovely”. If you've enjoyed this or any of the other historic horn videos please do subscribe to my youtube channel or even buy me a "ko-fi" here 🙂 https://ko-fi.com/annekescott