Welcome to the concert page
Below is the the program for a recital given at the Boston Early Music Festival in June of 2007.
Program: Click on the movement link to start the music
Piece no. 1 for mandolin by Ludwig van Beethoven
Piece no. 2 for mandolin by Ludwig van Beethoven
Piece no. 3 for mandolin by Ludwig van Beethoven
Piece no. 4 for mandolin by Ludwig van Beethoven
Grande Sonata for Foretpiano & Mandolin by J.N.
Hummel
Grande
Sonata for Foretpiano & Mandolin by J.N.
Hummel
The instrument used in the concert. Copy of an instrument by Antonio Vinaccia, Naples 1763. Yew back, spruce front, bone and pearl finberboard and decorations.
4 Pi�ces de Ludwig van Beethoven
Ludwig
van Beethoven (1770-1827)
needs
little introduction, his stature and importance have been well established
through the course of history. What is less well known is his connection
to the mandolin, the four surviving works (three of which are included in
this recording) have been given hardly a passing nod by historians though
they were written at a period in Beethoven�s life when he was expanding
his art stylistically.
The year is 1796 and among his close musical associates in Vienna
at this time was Wenzel Krumpholz, a virtuoso on the mandolin and violin.
Krumpholz remained a staunch admirer and friend to Beethoven throughout his
life and had given the composer some lessons on both the mandolin and
violin. It has been conjectured that at least 2 of the 5 pieces for
mandolin were intended for Krumpholz. However, the possibility exists
that Beethoven may have been
thinking of someone else. The original manuscripts in Beethoven's hand
have survived for the Sonatine
(WoO 43a) and the Adagio ma non troppo (WoO 43b). Prior to his
first visit to Prague, Beethoven had
made fair copies of
this and several other works for mandolin which he gave to the 18
year old Countess Josephine Clary. He inscribed the collection with an
intimate dedication "to
the beautiful J. by L. v.
B.". It was in Prague that Mozart
introduced the mandolin in his opera "Don Giovanni", a simple last minute
gesture played by the conductor of the Italian opera, Kucharz, himself a
mandolin virtuoso. Josephine Clary had been a pupil of Kucharz and, in addition to her
skill on the mandolin, she had some success as an amateur singer. It was
indeed to her that Beethoven dedicated his popular concert aria, 'Ah!,
perfido spergiura'. Josephine Clary, later to become the Countess
Clam-Gallas, must have made a strong impression on Beethoven, already
demonstrating anxiousness over the prospect of indefinite bachelor
hood. As in all of
Beethoven's attempts at finding a spouse, the young countess would be won
over by another. The
following year she became the wife of the nobleman Count Clam-Gallas,
himself a devoted admirer of Beethoven, accomplished musician and patron
to the arts. It is entertaining to imagine what additional music Beethoven
would have written for the mandolin had a relationship developed between
them. In addition to the presentation copies of the Sonata in c minor and
Adagio ma non troppo, the collection contained his Sonata in C (WoO 44a), an Andante
con variazioni (WoO 44b) and
a 5th work which was lost prior to any copies having been
made.
Grande Sonata for Foretpiano & Mandolin by J.N.
Hummel
Johann Nepomuk Hummel (1778-1837), celebrated composer and piano virtuoso, was also a talented guitarist who composed important works for both this instrument as well as the mandolin. As a young boy, Hummel came under the wing of Wolfgang Mozart (1786) studying with him over a period of 2 years while living in the Mozart household. A little over a decade later, during a period of continued study with Albrechtsberger, Haydn and Salieri in Vienna, Hummel would write a delightful concerto for mandolin and orchestra for the Italian virtuoso Barthol Bortolazzi ( 1773-c1840). Another decade would pass before he wrote again for the mandolin, this time with his �Grande Sonata per il Clavicemalo o Pianoforte con accompagnemento di mandolino o violino obligato�. The piece was composed and dedicated to Signor Fr. Mora de Malfatti and was first published by Maisch (Vienna) in 1810. Signor de Malfatti, a physician and influential member of Vienna�s elite musical community was an accomplished player of both the mandolin and guitar. Interestingly enough but not at all surprising, Hummel mentions both the harpsichord (clavicembolo) and the violin in addition to the mandolin and fortepiano with respects to instrumentation. As with the concerto, the writing is not particularly idiomatic to the mandolin and could have easily been adopted by a second keyboard or other instrument. However, the real interest of this instrumentation reside in the tonal contrasts and individual nuances that each instrument, one hammered and the other plucked, bring to the music. Melodic ease, ingenious embellishments, strong harmonies and all manners of juxtaposed elements are the traits that characterize Hummel�s best works. From the opening 3 measures in the Allegro con spirito evoking strength and confidence through the hauntingly beautiful Andante moderato siziliano and final engaging Rondo, we are treated to music of undeniable beauty and mastery of the classical form.
RICHARD WALZ (mandolinist/violinist)
Born in St. Paul,
MN, Mr. Walz began his musical studies as a child on the mandolin with
Albert Bellson (Alfonso Ballasone), an Italian immigrant and accomplished
artist/teacher of both the mandolin and classical guitar. After only 18 months of study, Mr.
Walz performed Hoffmann's mandolin concerto with the University of
Minnesota Chamber Orchestra. With the violin, he has studied with Adam
Hans Gorski, Robert Bloch and Ruben Gonzalez at the University of
Minnesota. Further study in the performance of 17th and 18th century
followed at The Royal Conservatory of Music in The Hague,
Holland.
Mr. Walz has
performed the Vivaldi, Hoffmann and Hummel mandolin concertos playing both
the 6 course Lombard and classic 4 course Neapolitan mandolins. He is one
of only a handful of mandolin soloists who performs regularly the
difficult 'Preludes for solo mandolin' by Raffaele Calace as well as the
entire opus of Giuseppe Pettine. He has performed in a number of
contemporary works including performances of George Crumb's "Ancient
Voices of Children" and "Labyrinth" written for Mr.Walz by Alicia Oliva
(N.Y). Walz has recorded the sonatas of Hummel, Neuling and Beethoven for
mandolin and fortepiano (Globe 5197). Walz has also recorded Calace's 1st
concerto along with other virtuoso solo pieces for
mandolin.
Walz plays
several fine instruments, including copies of original 18th century
Vinaccia mandolins made by Daniel Larson and Wolfgang Fr�h His other mandolins include
examples by Daniel Larson, Embergher, Monzino, Vega, and Lyon and Healy of
Chicago (1921).
Shuann Chai (Fortepianist)
Ms. Chai completed her undergraduate work in her hometown at
Oberlin College, majoring in Piano Performance and Biology. After choosing
music over medical school, she continued her studies at the New England
Conservatory in Boston where she earned a Master's degree. Her teachers
have included Jack Radunsky, Norma Fisher, and David Breitman, and she has
worked extensively with Viennese pianist Claus-Christian Schuster of the
Altenberg Trio and Malcolm Bilson, professor emeritus at Cornell
University. Presently Shuann is completing a Ph.D in Musicology at
Brandeis University, where she was awarded the H.M. Remis Fellowship as
well as the Gershwin Foundation Prize.