Alexander Glazunov, Rêverie Op. 24 for horn and piano - Anneke Scott & Steven Devine
ฝัง
- เผยแพร่เมื่อ 26 ก.ย. 2024
- Anneke Scott (horn) and Steven Devine (piano)
Alexander Glazunov, Rêverie Op. 24 for horn and piano (1890)
Rotary Horn by Julius Heinrich Zimmermann, St Petersburg, 1880s
Grand Piano by Erard, London, 1866 (Richard Burnett Collection)
Learn more about this performance here: • 6. Corno not Corona Co...
Recorded at Richard Burnett Heritage Collection of Keyboard Instruments, Waterdown House, Tunbridge Wells. August, 2021.
Producer: Tom Hammond (Chiaro Audio)
Engineer: John Croft (Chiaro Audio)
Videographer: Ioannis Theodoridis
with thanks to the Royal Philharmonic Society (RPS Enterprise Award, 2021)
www.annekescott.com
I'm loving these videos with the period-correct instruments. It's even made in Russia! Beautiful playing and vid
Thank you! The Zimmerman instrument is lovely - I'd really like to play some Tchaikovsky Symphonies on it some time. Like a lot of these instruments it has an upper ceiling on dynamics so you can't push it too loud - so that would give a very different sonic world for the horns (and therefore the whole ensemble) in such a piece!
Warm and fine! This is--I am sorry to confess--the first time I have thought well of a Glazunov piece. A musician is a diplomat, too, I suppose. That is, you two made me see how good this music in fact is. Most enjoyable! Thank you!
My pleasure! Glad you have been persuaded now!
Elegantly played. Exquisite transition from stopped D flat concert to open D flat (D flat is my favorite key). I learned this work at age 13 (1959-1960) under the tutelage of John Barrows as his first "kid" student. BTW, many horn players around John Barrows warmed-up in D flat. If you like, it would be nice to hear you play this work on a modern instrument or, at least on a C.F. Schmidt, the Horn that Mr. Barrows played. Thank you very much for your ongoing exposé of our repertoire.
Concert Db is a great key on horn. I don't know why but all the slurs just sound nice...
Marvellous, thank you both!
Nice song! I am playing this song for my Solo and Ensemble! This is my first year doing French Horn (I fell in love with the horn) and I am playing this song! Good luck to me and nice job making this song sound amazing!
Good luck! It's such a great piece for horn - enjoy!
@@AnnekeScott Thanks! Also am I allowed to ask what fingerings you use for your pedal tones? Those were low and I can't tell if I am using proper fingerings or not. Could you tell me?
@@torren_jeantymusic1491 Of course you're allowed to ask! The only thing is that this is a single F horn and so I only have those fingerings at my disposal (which is often good - B flat side can be very reliable in that range for some notes, but a bit rough in tone). Also with old valve horns I quite often use alternative fingerings as they are best in terms of intonation/timbre. This is pretty standard though I think on this horn: 123 for the Db, 1 for the Bb and 23 for the Ab.
@@AnnekeScott I was given an F Double Horn, so I have a Thumb Trigger with mine. Do you know the fingerings for the lower notes on an F Double Horn? If you don't then it's ok. I would understand you don't know because you're on a Single and not a double.
@@torren_jeantymusic1491 With thumb down I'd do T23 for the Db but then after that there are a lot of notes you CAN'T play on the Bb side (it runs out of notes down there) so I'd switch to F side for the rest.
Lovely!
Thank you!
Staying authentic with the 1880s instrument made me curious about the sound and I wasn't disappointed. But should I expect the distinctive warm and wide Russian vibrato we would have heard 50-60 years ago? Nevertheless, I particularly enjoyed the beautiful stopped notes at the end; never heard better execution and surety with that lovely confidence. Proof that the natural horn hand techniques have paid off handsomely.
An excellent question! Do you know Valery Polekh's playing? Search for his recording of this very same piece here on youtube - it's absolutely beautiful and with that, as you say, "distinctive warm and wide Russian vibrato", and also check out how he tackles the end of the piece. To my mind it's hard to demonstrate that this same vibrato is necessarily "back dateable", but it is a beautiful timbre for sure.
@@AnnekeScott I believe you are correct about vibrato not being "back dateable" in this case. To my surprise, a little research shows that the distinctive Russian vibrato was probably not what Glazunov had in mind for his Reverie.
And I wondered about the inspiration for Polekh's vibrato. Was he imitating the style of the time or perhaps a beloved teacher? Evidently not.
I was able to pull together a couple of relevant snippets from an old Horn Call (from May 1999) and his autobiography that suggest Polekh's vibrato was his own idea and that he was more of a stubborn innovator than I initially imagined.
Polekh said something that made me assume he learned vibrato from emulating singers, not horn players. Supposedly, he was once chastised by his colleagues for not caring enough about the beauty of the sound, so he resolved to learn how to "sing on the horn," and so began vocal studies including bel canto and vibrato that he applied to his horn solos.
Although his eminent Moscow Conservatory horn teacher, Professor F.Ehkkert, a Czech characterized as "from the old German school," taught that the sound should flow steadily, without false vibration or needless fluctuation, Polekh boldly ignored his advice. He insisted on showing Ehkkert his vibrato which caused the dismayed professor to ask, "Where did you get this?" as it grated on his ears. Polekh's mastery and musicianship must have been persuasive because the professor eventually accepted this style even though it was contrary to his own taste.
@@peterail This is exactly it! We have to be really careful about the idea of "lineage" - the idea that somehow a player's style is automatically some sort of indication to their teacher's is highly debatable. If you're a fan of Polekh could I also point you in the direction of David Gladen's book "Valeriy Polekh: French Hornist Laureate of All Russia" which has a lot of similarly interesting information about his life and work?
Great
Beautiful
Beautiful!!
Thank you!
Beautiful playing! One of my favorite pieces from my performing days, great to hear it again. Is this an F-horn only? No trigger for B-Flat side?
Thank you! Yes, isn't it a fantastic piece? And yes, you're right - this is a single F horn (Zimmermann, a Russian horn from the late 19th century) with no B flat trigger.
Ya opiné sobre su interpretación de la Sonata de Beethoven e insisto en lo mágico de la interpretación de ambos, sigo atónito con el buen gusto y belleza escenográfica, incluso el aspecto cromático. Gracias por compartir tu arte./I have already given my opinion about their interpretation of Beethoven's Sonata and I insist on the magic of the interpretation of both, I am still astonished by the good taste and scenic beauty, even the chromatic aspect. Thanks for sharing your art.
Gracias! Thank you! This is such a particularly lovely piece to play - I'm glad you've enjoyed it!