Programme for Tuesday June 13th, 2006
A. Eberl (1765-1807):
Sextet in E-flat Major Op.47 for clarinet, horn, violin, viola, cello and piano
W.A. Mozart (1756-1791):
Trio in E-flat Major K.498 for clarinet, viola and piano, "Kegelstatt"
E. Dohnanyi (1877-1960):
Sextet in C Major Op.37 for clarinet, horn, violin, viola, cello and piano
* * * * *
Programme Notes
Celebrations marking Mozart's 250th birthday this year are in full swing across the world. Whilst there are many opportunities to hear all-time Mozart favourites, the Lugard Ensemble commemorates this special anniversary by presenting his lesser-known music and the works of two composers who were strongly influenced by him. An Austro-Hungarian dinner complements this programme. (Click here for menu.)
The "Kegelstatt" Trio, written for the unusual combination of piano, clarinet and viola, is one of Mozart's most intimate and expressive chamber works (the viola was his preferred instrument when he played chamber music) but is not as often heard in concerts today as it deserves to be.
The other two works in the programme also feature a less common grouping of instruments: the clarinet, horn, violin, viola, cello and piano. Anton Eberl (1765-1807) was an eminent musician in Vienna who befriended Mozart and probably studied with him. The influence of Mozart in Eberl's Sextet Op.47 is unmistakable, and indeed, publishers at that time often issued his works under Mozart's name despite his vigorous efforts to correct the record.
Erno Dohnanyi (1877-1960) was a brilliant pianist and conductor who strove to promote the neglected music of Mozart, Beethoven and Schubert to the general public in Budapest. Amongst his pioneering achievements was the performance of Beethoven's complete piano works in 1920 and all Mozart's 27 piano concertos in 1941. Dohnanyi's own music had been unjustly passed over because it was seen to be old-fashioned in the context of music modernity, and only recently are musical gems such as the Sextet Op.37 being rediscovered by appreciative players and audiences.
* * * * *
