SACDs - Haydn, M

The Duos for Violin and Viola by Mozart have long been favourite pieces of ours – pieces we'd take out and play when there wasn't a keyboard player or cellist to hand, or busk as teenagers to earn extra pocket money. Back then, the audience's response clearly indicated how appealing these pieces were as our takings always doubled when we played them! These works never cease to amaze – Mozart uses the two instruments so effectively and with such exquisite craftsmanship that he never leaves one wondering where the rest of the string quartet might have gone….They are also hugely engaging to play and so endlessly rich and interesting that the appeal to the listener is guaranteed.

Mozart's reference to other genres is always fascinating. In this case the writing is dramatic, operatic even (the violin taking the role as soprano diva (!) and the viola as the heroic tenor?!). One could perhaps go as far to say that these duos are distillations of the art of chamber music as in the Haydn quartets, but more naturally recreational and less self-conscious. For a violist they are about as exposed as you can be; hitherto very few sonatas or con certi had been written for solo viola - and the accompaniment would seldom have been as scant as a single violin. The conversational and imitative nature of the writing allows for freedom and characterization, and it was refreshing and rewarding to be as spon taneous as possible in the recording sessions.

It was also a diverting and enjoyable experience to record two of the Michael Haydn duos, previously unknown to us both. The character of these pieces is often reminiscent of Austrian folk music and it really seems as if you can hear the yodelling vernacular bouncing off the mountains in timely echoes. The challenges in these works are quite different to those of his friend Wolfgang – the demands placed on the violinist are obvious as the writing is busy, yet in need of a casual fluidity, whereas the violist has the task of being constantly inventive with material which is largely accompanimental (melody and bass, in effect). Who knows? Maybe Wolfgang and Michael tried these out during Mozart's visit to Salzburg when he helped his friend complete a set of six Sonatas in 1783.

Jasper de Waal has occupied the position of first horn with the Royal Concertgebouw Orchestra since 2004.

He won several regional music competitions for young musicians in1983 and 1984. Jasper can be heard as a soloist on dozens of recordings of the Royal Concertgebouw Orchestra. His other recordings include the horn trios of Johannes Brahms and Jochem Slothouwer and Gregson’s horn concerto.

The Royal Concertgebouw Orchestra is made up of orchestral players of the highest international standing. Many of them can be heard not only in the orchestra but also regularly in chamber music performances. After all, the fabulous wealth of that repertoire is a rewarding challenge for any musician.

In the CD series ‘First Chairs of the RoyalConcertgebouw Orchestra’, musicians submit their personal calling card, as it were, with their very own choice of music from their particular instrument’s repertoire. This is one of the ways that the orchestra can proudly introduce its musicians as individuals.

This ebullient collection features Concertos and chamber works for Horn by both Michael and Joseph Haydn.