(2022) Mozart: Concertos for flute and orchestra
Kategorie(n): Concerto Orchester Repertoire
Instrument(e): Violoncello Kontrabass Flöte Harfe Oboe Geige
Gesangsstimme(n): Alt
Hauptkomponist: Wolfgang Amadeus Mozart
Ensemble: Gli Angeli Genève
Dirigent: Stephan MacLeod
CD-Set: 1
Katalog Nr.:
CD 3050
Freigabe: 07.10.2022
EAN/UPC: 7619931305028
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Dieses Album ist jetzt neu aufgelegt worden. Bestellen Sie es jetzt zum Sonderpreis vor.
CHF 18.50
Dieses Album ist nicht mehr auf CD erhältlich.
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MOZART: CONCERTOS FOR FLUTE AND ORCHESTRA
ENCHANTED FLUTE
If Mozart gave the concerto of his time its ultimate shape, it is because he transferred to it all the characteristics of the opera aria, giving the cantabile – which he often mentions in his correspondence – most significant importance and transforming the vocal virtuosic runs instrumental figurations. The soloist is a character whose rhetoric gives the orchestral material presented in the introduction a deeper, more intimate and more sensitive dimension. This constitutes the raison d’être of the relationship between the individual and the group, between the solos and the tuttis.
Mozart always had in mind the musician for whom the work was written, whether it was an aria or a concerto. He then tailored a suit to measure, as he said (in his piano concertos, he referred to himself, hence the depth and complexity of what is expressed in these works). For a soloist with a virtuoso technique, he would compose highly challenging passages; for someone less assured, he would deliver a more accessible score. Therefore, the last of the four horn concertos written for the famous Joseph Leutgeb is far less demanding than the previous ones since the ageing soloist could no longer play the highest notes. Similarly, the flute part of the Flute and Harp Concerto uses the low notes that were the uniqueness of the instrument used by the Count of Guînes, who commissioned the piece (the notes D flat and C, now found on modern flutes).
The superiority of Mozart’s concertos over those of his contemporaries, including Haydn, lies in the subtle combination of the form’s rigidity and the dramatisation of the musical discourse. Mozart had already experimented with this in the opera seria arias and managed to create tensions and progressions within a static form. Therefore, he did not try to innovate at a formal: his concertos are mostly built on the same pattern. But their content is very rich, and this richness grows according to its development. It largely stems from the composer’s melodic genius, which allowed him to link several characteristic ideas in an organic continuity as if each one flowed from the previous one. It is also due to the fact that the orchestra does not merely accompany the soloist but fully participates in the construction of the musical discourse. [..]
THE SEARCH FOR INDEPENDENCE
Playing Mozart’s concertos poses the same problem for a flutist as Bach’s sonatas and partitas do for a violinist or his suites for a cellist. This problem is encountered with masterpieces that entered our repertoire too early; when we are confronted with the admirable before the ordinary or when we are taught the exception before the rule. How can we find the distance that will allow us to offer a personal reading? How can we take an objective look at what is already familiar? How can we judge and appreciate as an adult what we have been fed since our earliest childhood? How can we question the precepts taught us in our early years of study? How, finally, to escape from the prison of tradition?
I have never been driven by the desire to do something different at all costs, but by the desire to understand what the work has to tell us. And it is not so easy to reach a stage of lucidity with the “pillars of the repertoire”. Sometimes you have to turn your back on them for a while to rediscover them with fresh eyes, with a virgin heart, to see and feel them as they are and not as we have been taught to consider them. For a long time, I loved Mozart and considered him a genius, simply because I had been taught to love him and consider him as such! Then one day, something clicked; a sudden awareness, lived and felt, of the uniqueness of his genius; a love that has only grown, and above all a sudden discovery of the dramatic potential of his music, not in any way limited to his operas. Each of his works is in fact an opera in miniature, a theater of the soul, and his flute concertos are no exception. This is the angle from which we have approached them, with their share of intrigues, feelings, comic moments, and coups de théâtre! And, much more than the performance of a soloist with orchestral accompaniment, we wanted to bring to light a compelling dialogue, between an operatic character who would be the soloist and an orchestra that is both a setting and an actor, sometimes playing a single character, sometimes a crowd. [..]
ALEXIS KOSSENKO, flute
Born in Nice in 1977, Alexis Kossenko now leads a career both as a conductor and a flautist. With his deep knowledge of all the historical forms of his instrument, he plays the modern flute (he graduated́ from the CNSM in Paris in Alain Marion’s class and won the 2000 Rampal Competition) as well as the baroque, classical and romantic flutes, and the recorder. He performs as a soloist with numerous orchestras and ensembles including the Deutsche Symphonie-Orchester Berlin, the Stockholm Philharmonic Orchestra, Concerto Copenhagen, Ensemble Matheus, Philharmonie der Nationen, La Grande Écurie et la Chambre du Roy, Stradivaria, Barokksolistene, B’Rock, Le Cercle de l’Harmonie, La Chambre Philharmonique, Modo Antiquo, Le Concert Lorrain, Holland Baroque Society, Helsinki Baroque Orchestra, Ensemble Resonanz and Gli Angeli Genève, in a repertoire ranging from Vivaldi to Khachaturian. He has performed or conducted at the Berlin, Warsaw and Stockholm Philharmonics, the Wigmore Hall and the Royal Albert Hall in London, the Mozarteum in Salzburg, the Théâtre des Champs-Élysées and the Salle Gaveau in Paris, the Tonhalle in Zurich, the Concertgebouw in Bruges and Amsterdam and the Royal Opera House in Copenhagen. [..]
VALERIA KAFELNIKOV, harp
Valeria Kafelnikov trained in Russia and then in France, where she obtained the First prize in Isabelle Moretti’s class and the Aptitude certificate in the Pedagogy department of the Paris Conservatoire (CNSMDP). She then perfected her skills with Fabrice Pierre at the Lyon Conservatoire (CNSMDL). She also attended masterclasses with György Kurtág and Pierre Boulez before taking part in the Verbier Youth Orchestra as first harp under James Levine, Zubin Mehta and Wolfgang Sawallisch.
In 2018, Valeria Kafelnikov joined the Ensemble Intercontemporain. This appointment pursues an important commission and creation work she had already undertaken in collaboration with the Quatuor Béla, within the Trio Lisbeth Project or with ensembles like Alternance or Court-Circuit. She has thus established privileged connections with contemporary composers such as Frédéric Pattar, Vincent Bouchot, Ernest H. Papier and Aurélio Edler-Copes. Valeria Kafelnikov is also the principal harpist of the orchestra Les Siècles conducted by François-Xavier Roth. She is most interested in the history of interpretation and historical instruments and performs within her recitals on various instruments such as the 18th-century single-action harp, the late 19th-century Érard harp and the modern harp. [..]
STEPHAN MACLEOD, direction
Geneva-born Stephan MacLeod is a singer and conductor. He now conducts between 40 and 50 concerts a year worldwide, including an increasing number of appearances as guest conductor with “modern” orchestras. He also happily pursues his career as a singer and is a vocal teacher at the Haute Ecole de Musique de Lausanne (HEMU). [..]
As a Lied and melody lover, Stephan MacLeod gives numerous recitals. He has also appeared on opera stages, notably at La Monnaie in Brussel, La Fenice in Venice, and in opera houses in Geneva, Toulouse, Nîmes, Bordeaux, Cologne, Potsdam, Freiburg, Gerona, etc. Alongside his singing career, he has also been conducting regularly since 2005 and is the founder of Gli Angeli Genève, an ensemble that has gained significant international recognition in recent years.
Since 2013, Stephan MacLeod is a vocal teacher at the Haute Ecole de Musique de Lausanne. He divides his time between family, teaching, singing commitments, his ensemble and conducting – particularly Bach’s music. His discography includes over 100 CDs, many of which have been awarded.
GLI ANGELI GENÈVE
Gli Angeli Genève was founded in 2005 by Stephan MacLeod. This ensemble of variable size plays on period instruments (or copies thereof) and comprises musicians who pursue a career in baroque music but are not active in this field only: they do not solely play early music. Their eclecticism guarantees the vitality of their enthusiasm. It is also a driving force behind their curiosity.
From the very beginning of its musical adventure – solely focused for several years on the concert performance of the complete Bach Cantatas, with three concerts per season in Geneva – Gli Angeli Genève has been a meeting place for some of the most famous singers and instrumentalists on the international Baroque scene and young graduates of the Basel, Lyon, Lausanne and Geneva music schools. [..]
Gli Angeli Genève’s first recording for Claves, Sacred Music of the 17th Century in Wroclaw, won the 2019 ICMA Award for the best recording of the year of baroque vocal music. In addition, Johann Sebastian Bach’s St. Matthew Passion received enthusiastic acclaim from audiences and critics, both in Switzerland and worldwide. Gli Angeli Genève’s recordings also include Bach’s Mass in B minor, nominated in 2022 for an ICMA Award ; Bach’s Bass Cantatas, released in April 2022 ; and Antoine Reicha’s rarely performed Symphonies Concertantes, with soloists Christophe Coin, Davit Melkonyan, Chouchane Siranossian and Alexis Kossenko.
DISTRIBUTION & WORKS
WOLFGANG AMADEUS MOZART
Concertos for flute and orchestra
K. 313 · 314 · 315 · 299
Alexis Kossenko, flûte
Valeria Kafelnikov, harpe (K. 299)
***
Eva Saladin, Adrien Carré, Claire Foltzer, Jonathan Nubel, Coline Ormond, Nadia Rigolet, violons 1
Sonoko Asabuki, Stéphanie Erös, Angelina Holzhofer, Murielle Pfister, Xavier Sichel, violons 2
Deirdre Dowling, Caroline Cohen-Adad, Bettina Ruchti, Martine Schnorhk, altos
Felix Knecht, Oleguer Aymami, Hager Hanana, violoncelles
Michaël Chanu, Clena Stein, contrebasses
Sarah Van Cornewal, Sara Boesch, flûtes (K. 313)
Emmanuel Laporte, Claire Thomas, hautbois
Philippe Miqueu, Carles Cristobal, bassons
Antoine Dreyfuss, Alessandro Orlando, cors
Stephan MacLeod, direction
***
K. 313 et 315: flûte de Martin Wenner d’après August Grenser (1790) a 1 clé, en grenadille
K. 314: flûte de Martin Wenner d’après August Grenser (1790) a 1 clé, en ébène
K. 299: flûte de Martin Wenner d’après August Grenser (1790) a 8 clés, en grenadille harpe à simple mouvement Etienne Chaillot, fin du 18e siècle
***
Concertos K. 313 et K. 314 & Andante K. 315
Cadences improvisées ou librement inspirées des exemples de Rachel Brown et Konrad Hünteler (Bärenreiter).
Concerto pour flûte et harpe K. 299
Cadences de Sylvain Blassel (éditions Harposphère), librement adaptées
(2022) Mozart: Concertos for flute and orchestra - CD 3050
ENCHANTED FLUTE
If Mozart gave the concerto of his time its ultimate shape, it is because he transferred to it all the characteristics of the opera aria, giving the cantabile – which he often mentions in his correspondence – most significant importance and transforming the vocal virtuosic runs instrumental figurations. The soloist is a character whose rhetoric gives the orchestral material presented in the introduction a deeper, more intimate and more sensitive dimension. This constitutes the raison d’être of the relationship between the individual and the group, between the solos and the tuttis.
Mozart always had in mind the musician for whom the work was written, whether it was an aria or a concerto. He then tailored a suit to measure, as he said (in his piano concertos, he referred to himself, hence the depth and complexity of what is expressed in these works). For a soloist with a virtuoso technique, he would compose highly challenging passages; for someone less assured, he would deliver a more accessible score. Therefore, the last of the four horn concertos written for the famous Joseph Leutgeb is far less demanding than the previous ones since the ageing soloist could no longer play the highest notes. Similarly, the flute part of the Flute and Harp Concerto uses the low notes that were the uniqueness of the instrument used by the Count of Guînes, who commissioned the piece (the notes D flat and C, now found on modern flutes).
The superiority of Mozart’s concertos over those of his contemporaries, including Haydn, lies in the subtle combination of the form’s rigidity and the dramatisation of the musical discourse. Mozart had already experimented with this in the opera seria arias and managed to create tensions and progressions within a static form. Therefore, he did not try to innovate at a formal: his concertos are mostly built on the same pattern. But their content is very rich, and this richness grows according to its development. It largely stems from the composer’s melodic genius, which allowed him to link several characteristic ideas in an organic continuity as if each one flowed from the previous one. It is also due to the fact that the orchestra does not merely accompany the soloist but fully participates in the construction of the musical discourse. [..]
THE SEARCH FOR INDEPENDENCE
Playing Mozart’s concertos poses the same problem for a flutist as Bach’s sonatas and partitas do for a violinist or his suites for a cellist. This problem is encountered with masterpieces that entered our repertoire too early; when we are confronted with the admirable before the ordinary or when we are taught the exception before the rule. How can we find the distance that will allow us to offer a personal reading? How can we take an objective look at what is already familiar? How can we judge and appreciate as an adult what we have been fed since our earliest childhood? How can we question the precepts taught us in our early years of study? How, finally, to escape from the prison of tradition?
I have never been driven by the desire to do something different at all costs, but by the desire to understand what the work has to tell us. And it is not so easy to reach a stage of lucidity with the “pillars of the repertoire”. Sometimes you have to turn your back on them for a while to rediscover them with fresh eyes, with a virgin heart, to see and feel them as they are and not as we have been taught to consider them. For a long time, I loved Mozart and considered him a genius, simply because I had been taught to love him and consider him as such! Then one day, something clicked; a sudden awareness, lived and felt, of the uniqueness of his genius; a love that has only grown, and above all a sudden discovery of the dramatic potential of his music, not in any way limited to his operas. Each of his works is in fact an opera in miniature, a theater of the soul, and his flute concertos are no exception. This is the angle from which we have approached them, with their share of intrigues, feelings, comic moments, and coups de théâtre! And, much more than the performance of a soloist with orchestral accompaniment, we wanted to bring to light a compelling dialogue, between an operatic character who would be the soloist and an orchestra that is both a setting and an actor, sometimes playing a single character, sometimes a crowd. [..]
ALEXIS KOSSENKO, flute
Born in Nice in 1977, Alexis Kossenko now leads a career both as a conductor and a flautist. With his deep knowledge of all the historical forms of his instrument, he plays the modern flute (he graduated́ from the CNSM in Paris in Alain Marion’s class and won the 2000 Rampal Competition) as well as the baroque, classical and romantic flutes, and the recorder. He performs as a soloist with numerous orchestras and ensembles including the Deutsche Symphonie-Orchester Berlin, the Stockholm Philharmonic Orchestra, Concerto Copenhagen, Ensemble Matheus, Philharmonie der Nationen, La Grande Écurie et la Chambre du Roy, Stradivaria, Barokksolistene, B’Rock, Le Cercle de l’Harmonie, La Chambre Philharmonique, Modo Antiquo, Le Concert Lorrain, Holland Baroque Society, Helsinki Baroque Orchestra, Ensemble Resonanz and Gli Angeli Genève, in a repertoire ranging from Vivaldi to Khachaturian. He has performed or conducted at the Berlin, Warsaw and Stockholm Philharmonics, the Wigmore Hall and the Royal Albert Hall in London, the Mozarteum in Salzburg, the Théâtre des Champs-Élysées and the Salle Gaveau in Paris, the Tonhalle in Zurich, the Concertgebouw in Bruges and Amsterdam and the Royal Opera House in Copenhagen. [..]
VALERIA KAFELNIKOV, harp
Valeria Kafelnikov trained in Russia and then in France, where she obtained the First prize in Isabelle Moretti’s class and the Aptitude certificate in the Pedagogy department of the Paris Conservatoire (CNSMDP). She then perfected her skills with Fabrice Pierre at the Lyon Conservatoire (CNSMDL). She also attended masterclasses with György Kurtág and Pierre Boulez before taking part in the Verbier Youth Orchestra as first harp under James Levine, Zubin Mehta and Wolfgang Sawallisch.
In 2018, Valeria Kafelnikov joined the Ensemble Intercontemporain. This appointment pursues an important commission and creation work she had already undertaken in collaboration with the Quatuor Béla, within the Trio Lisbeth Project or with ensembles like Alternance or Court-Circuit. She has thus established privileged connections with contemporary composers such as Frédéric Pattar, Vincent Bouchot, Ernest H. Papier and Aurélio Edler-Copes. Valeria Kafelnikov is also the principal harpist of the orchestra Les Siècles conducted by François-Xavier Roth. She is most interested in the history of interpretation and historical instruments and performs within her recitals on various instruments such as the 18th-century single-action harp, the late 19th-century Érard harp and the modern harp. [..]
STEPHAN MACLEOD, direction
Geneva-born Stephan MacLeod is a singer and conductor. He now conducts between 40 and 50 concerts a year worldwide, including an increasing number of appearances as guest conductor with “modern” orchestras. He also happily pursues his career as a singer and is a vocal teacher at the Haute Ecole de Musique de Lausanne (HEMU). [..]
As a Lied and melody lover, Stephan MacLeod gives numerous recitals. He has also appeared on opera stages, notably at La Monnaie in Brussel, La Fenice in Venice, and in opera houses in Geneva, Toulouse, Nîmes, Bordeaux, Cologne, Potsdam, Freiburg, Gerona, etc. Alongside his singing career, he has also been conducting regularly since 2005 and is the founder of Gli Angeli Genève, an ensemble that has gained significant international recognition in recent years.
Since 2013, Stephan MacLeod is a vocal teacher at the Haute Ecole de Musique de Lausanne. He divides his time between family, teaching, singing commitments, his ensemble and conducting – particularly Bach’s music. His discography includes over 100 CDs, many of which have been awarded.
GLI ANGELI GENÈVE
Gli Angeli Genève was founded in 2005 by Stephan MacLeod. This ensemble of variable size plays on period instruments (or copies thereof) and comprises musicians who pursue a career in baroque music but are not active in this field only: they do not solely play early music. Their eclecticism guarantees the vitality of their enthusiasm. It is also a driving force behind their curiosity.
From the very beginning of its musical adventure – solely focused for several years on the concert performance of the complete Bach Cantatas, with three concerts per season in Geneva – Gli Angeli Genève has been a meeting place for some of the most famous singers and instrumentalists on the international Baroque scene and young graduates of the Basel, Lyon, Lausanne and Geneva music schools. [..]
Gli Angeli Genève’s first recording for Claves, Sacred Music of the 17th Century in Wroclaw, won the 2019 ICMA Award for the best recording of the year of baroque vocal music. In addition, Johann Sebastian Bach’s St. Matthew Passion received enthusiastic acclaim from audiences and critics, both in Switzerland and worldwide. Gli Angeli Genève’s recordings also include Bach’s Mass in B minor, nominated in 2022 for an ICMA Award ; Bach’s Bass Cantatas, released in April 2022 ; and Antoine Reicha’s rarely performed Symphonies Concertantes, with soloists Christophe Coin, Davit Melkonyan, Chouchane Siranossian and Alexis Kossenko.
DISTRIBUTION & WORKS
WOLFGANG AMADEUS MOZART
Concertos for flute and orchestra
K. 313 · 314 · 315 · 299
Alexis Kossenko, flûte
Valeria Kafelnikov, harpe (K. 299)
***
Eva Saladin, Adrien Carré, Claire Foltzer, Jonathan Nubel, Coline Ormond, Nadia Rigolet, violons 1
Sonoko Asabuki, Stéphanie Erös, Angelina Holzhofer, Murielle Pfister, Xavier Sichel, violons 2
Deirdre Dowling, Caroline Cohen-Adad, Bettina Ruchti, Martine Schnorhk, altos
Felix Knecht, Oleguer Aymami, Hager Hanana, violoncelles
Michaël Chanu, Clena Stein, contrebasses
Sarah Van Cornewal, Sara Boesch, flûtes (K. 313)
Emmanuel Laporte, Claire Thomas, hautbois
Philippe Miqueu, Carles Cristobal, bassons
Antoine Dreyfuss, Alessandro Orlando, cors
Stephan MacLeod, direction
***
K. 313 et 315: flûte de Martin Wenner d’après August Grenser (1790) a 1 clé, en grenadille
K. 314: flûte de Martin Wenner d’après August Grenser (1790) a 1 clé, en ébène
K. 299: flûte de Martin Wenner d’après August Grenser (1790) a 8 clés, en grenadille harpe à simple mouvement Etienne Chaillot, fin du 18e siècle
***
Concertos K. 313 et K. 314 & Andante K. 315
Cadences improvisées ou librement inspirées des exemples de Rachel Brown et Konrad Hünteler (Bärenreiter).
Concerto pour flûte et harpe K. 299
Cadences de Sylvain Blassel (éditions Harposphère), librement adaptées
Return to the album | Read the booklet | Composer(s): Wolfgang Amadeus Mozart | Main Artist: Stephan MacLeod
STUDIO-MASTER (HOCHAUFLÖSENDES AUDIO)
CUSTOMERS & PRESS REVIEWS
Alexis Kossenko
Alle Alben
Alt
Amethys Design
Auf Lager
Classica - Coup de coeur
Concerto
Fagott
Flöte
Geige
Gli Angeli Genève
Harfe
High-resolution audio - Studio master quality
Kontrabass
Oboe
Orchester
Repertoire
Stephan MacLeod
Valeria Kafelnikov
Violoncello
Wolfgang Amadeus Mozart (1756-1791)
Alexis Kossenko
Alle Alben
Alt
Amethys Design
Auf Lager
Classica - Coup de coeur
Concerto
Fagott
Flöte
Geige
Gli Angeli Genève
Harfe
High-resolution audio - Studio master quality
Kontrabass
Oboe
Orchester
Repertoire
Stephan MacLeod
Valeria Kafelnikov
Violoncello
Wolfgang Amadeus Mozart (1756-1791)
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