18th Century Music for Bassoon - Carmen Mainer Martín bassoon Violeta Mur cello Enrique Escartín Ara piano - IDAGIO
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Mozart Contemporaries
18th Century Music for Bassoon
Carmen Mainer Martín bassoon
Violeta Mur cello
Enrique Escartín Ara piano
Mozart Contemporaries Mozart Contemporaries
18th Century Music for Bassoon This album presents a selection of works written by three composers of the same
generation: all three were born in the 1750s and wrote music in the pure Classical
François Devienne 1759-1803 Thaddäus Wolfgang Von Dürnitz idiom of eighteenth-century Europe, including pieces in which the spotlight falls on
Duo Concertant Op.3 No.2 in G Sonata No.6 in C for bassoon and piano the bassoon. The immortal Wolfgang Amadeus Mozart was of course the leading
for bassoon and cello 9. Allegro 3’45 composer of his day, an undisputed touchstone of the aesthetics of the Enlightenment,
1. Allegro 3’45 10. Rondo – Allegro 3’30 of that Age of Reason during which Europe witnessed the birth of mankind’s highest
2. Rondo 3’15 ideals and which is reflected in music of striking clarity, transparency and optimism.
Sonata No.3 in G for bassoon and piano Mozart is the glue binding our chosen repertoire together, in fact, since our starting
Thaddäus Wolfgang Von Dürnitz 11. Adagio – Allegro 6’26 point for this programme was his Sonata for bassoon and cello in B flat, KV292.
1756-1807 12. Tempo di Menuetto, ma un Cast in three movements, it was written in around 1775 – a year after the Bassoon
Sonata No.1 in B flat poco Allegro 3’47 Concerto in B flat, KV191 – when Mozart was not yet twenty. Notable for its sheer
for bassoon and piano simplicity and beauty, it was dedicated to the music-loving nobleman Thaddäus
3. Allegro maestoso 5’07 Wolfgang Amadeus Mozart 1756-1791 Wolfgang von Dürnitz, an amateur composer and occasional pianist and bassoonist.
4. Rondo – Allegro 3’25 Sonata KV292 in B flat A few years later (around 1780), Dürnitz published his own collection of six
for bassoon and cello sonatas for bassoon and piano (fortepiano at the time), works written in an idiom
Sonata No.5 in G for bassoon and piano 13. Allegro 3’52 which is highly individual but still indebted to the Classical aesthetic. In his sonatas
5. Allegro ma ben posato 3’38 14. Andante 3’01 Dürnitz explores the technical capabilities of the eighteenth-century Classical bassoon,
6. Rondo – Allegretto 4’41 15. Rondo (Allegro) 3’01 which had evolved from its predecessor, the Baroque bassoon, thanks to a series of
significant refinements to the way in which the instrument was made. Fundamental to
François Devienne these was the addition of keys that enabled an expansion of its technical capabilities,
Duo Concertant Op.3 No.1 in F including, for example, an extended range, especially in the upper register.
for bassoon and cello Dürnitz made the most of this aspect in his six sonatas, as can be heard in the four
7. Allegro moderato 4’08 recorded here, in which the bassoon line rarely descends into the lower register but
8. Rondo 2’50 frequently ventures into the upper. This inclusion of primarily high melodic lines was
a great novelty at the time, and even twenty-first-century performers and listeners,
used to the extremes of register employed in contemporary music, may be surprised
by the unusual heights to which the bassoon often climbs in these sonatas. It seems
Carmen Mainer Martín bassoon · Violeta Mur cello · Enrique Escartín Ara piano
Recording: 2-3 September 2019, Diputación Provincial de Huesca, Huesca, Spain
Producer, Recording Engineer and Editing: Gonzalo Noqué (Noqué Studio)
Equipment: Rens Heijnis modified Neumann U89 and Schoeps CMC64 microphones, Merging
Horus preamplifier and converter, Pyramix DAW
Cover & artists’ photos: Alberto Pérez Puyal
p & © 2021 Brilliant Classics
natural enough to suppose that Dürnitz, a passionate amateur player, wanted to Mozart Contemporaries
demonstrate the expressive potential of this register in his works and challenge other En Mozart Contemporaries presentamos algunos de los trabajos de la generación de
bassoonists (as well, perhaps, as himself) by writing melodic lines that pushed the compositores que, nacidos en la década de 1750, desarrollaron su producción musical
instrument to its upper limits. His sonatas are also typical of the chamber repertoire a través del más puro lenguaje del Clasicismo europeo del siglo XVIII, otorgando
in that the solo and accompaniment functions constantly alternate between bassoon al fagot un rol relevante. El inmortal Wolfgang Amadeus Mozart se revela como
and piano, just as they do between bassoon and cello in the Mozart sonata. el músico clave de esta época, referente indiscutible de la estética del Siglo de las
The last of our composers is François Devienne, who wrote his six Duos Luces, de esta Edad de la Razón en que Europa ve nacer los ideales más elevados del
Concertants Op.3 for two bassoons in around 1782. These are also sometimes ser humano y que se refleja en una música profundamente esperanzadora, clara y
performed by bassoon and cello, a choice possibly influenced by Mozart’s KV292, transparente.
and indeed one of the reasons we have opted for the bassoon-cello pairing here is to La figura de Mozart va a actuar como aglutinante del repertorio escogido, ya que
keep that sense of coherence with his Sonata in B flat. The other reason for our choice se ha partido de su Sonata para fagot y violonchelo en Si bemol Mayor KV292 para
is the undeniable richness of tone and colour offered by this combination of two low construir el resto del programa. Esta sonata articulada en tres movimientos fue escrita
instruments. hacia 1775, un año después de la composición del Concierto para fagot y orquesta
© Carmen Mainer Martín en Si bemol Mayor KV191, cuando Mozart contaba con apenas veinte años. El
Translation by Susannah Howe diletante Thaddäus Wolfgang Von Dürnitz, noble, melómano, compositor e intérprete
ocasional de piano y fagot, fue la persona a quien Mozart dedicó esta pieza, de una
gran sencillez y belleza.
Por su parte, Dürnitz va a publicar algunos años más tarde (en torno a 1780) sus
seis sonatas para fagot y piano (fortepiano en la época), en las que explora con un
lenguaje muy personal, pero siempre deudor de la estética clásica, las posibilidades
del fagot en aquel momento, el fagot clásico; este instrumento del siglo XVIII es
el resultado de una serie de notables modificaciones en la factura de su antecesor,
el fagot barroco, consistentes fundamentalmente en el añadido de llaves que van a
posibilitar un aumento de las posibilidades técnicas como, por ejemplo, la ampliación
del registro, sobre todo en el ámbito agudo.
Esto es algo en lo que Dürnitz profundizará en sus seis sonatas y que se puede
escuchar en las cuatro obras grabadas para Mozart Contemporaries, ya que la línea
melódica del fagot desciende raramente hacia el registro grave y, sin embargo, se
aventura con audacia en el agudo. Este desarrollo de líneas melódicas generalmente Carmen Mainer Martín graduated from
agudas constituye una gran novedad para la época; incluso desde el punto de the Conservatorio Superior de Música de
vista de los artistas y oyentes del siglo XXI, en el que la música contemporánea ha Aragón (CSMA), where she studied with
acostumbrado a la audiencia a límites mucho más extremos, el registro en el que a Juan Sapiña; she has also worked with
menudo se mueve el fagot en estas sonatas puede sorprender por ser inusualmente David Tomàs, Sergio Azzolini, Laurent
agudo. Se puede intuir que Dürnitz, apasionado amateur de este instrumento, quisiera Lefèvre, Josep Borrás, Johannes Schwarz,
reflejar en sus composiciones las posibilidades expresivas de este registro y desafiar a Fany Maselli, Amrei Liebold, Gustavo
los fagotistas (y, posiblemente, a sí mismo) proponiendo este tipo de líneas melódicas Núñez and Stefano Canuti, in Spain, Italy,
en el límite del instrumento de la época. France and Austria. In Spain she has worked
Finalmente, las sonatas de Dürnitz constituyen un ejemplo paradigmático del with such ensembles as the Joven Orquesta
repertorio camerístico por la constante alternancia de roles solista y acompañante de Euskal Herria (EGO), Joven Orquesta
entre el fagot y el piano, de la misma manera que sucede en la Sonata en Si bemol Internacional Oviedo Filarmonía (JOIOF)
mayor para fagot y violonchelo de Mozart. and Orquesta de Cámara del Maestrazgo.
Por último, François Devienne escribirá en torno a 1782 sus seis Dúos In 2011 and 2019 she was invited by the
Concertantes Op.3 para dos fagotes, que también han sido interpretados por Académie Musicale de Villecroze to attend
fagot y violonchelo, quizás por influencia de la formación de la ya citada Sonata masterclasses given by Sergio Azzolini and
de Mozart. En Mozart Contemporaries se ha querido mantener la combinación de Laurent Lefèvre respectively. Carmen took
fagot y violonchelo por dos razones: la primera, para mantener la coherencia con la part in the 2018 International Ensemble
formación de la Sonata en Si bemol de Mozart y, la segunda, por la incuestionable Modern Academy master course at the
riqueza tímbrica y cromática de esta asociación de instrumentos graves. Klangspuren Festival in Schwaz and in the
© Carmen Mainer Martín 2019 impuls Festival in Graz.
In France, she works with various
different orchestras and chamber ensembles, including the wind quintet Le Concert
impromptu, contemporary music ensemble Écoute and the Orchestre Symphonique
d’Orléans. In 2017 she and her sister, flautist Ana Mainer Martín, founded the
Gavarnie Ensemble, and together they regularly give concerts in both France and
Spain. In parallel with her chamber music work, Carmen also teaches bassoon at the
Maurice Ravel Conservatory in Paris and is involved with the Paris Philharmonie’s
DÉMOS outreach project. In 2015 she won the Performance Prize awarded annually
by the Colegio de España in Paris in cooperation with Spain’s National Institute of Violeta Mur began her cello studies
Performing Arts and Music (INAEM – part of the Ministry of Culture and Sport), and in Huesca, with Ángela Gómez at the
this enabled her to record her first solo album: Music for bassoon and piano (Brilliant Conservatorio Profesional de Música
Classics, 2018). “Antonio Viñuales Gracia”, obtaining
Carmen has a master’s in music and musicology from the Sorbonne in Paris and a distinctions in both cello and composition.
degree in history of art from the University of Zaragoza. She then went on to study at the CSMA
with Fernando Arias and the Cuarteto
Quiroga. Later, she travelled to Austria to
continue her training with Mathias Johansen
and Beatriz Blanco at the Vorarlberger
Landeskonservatorium. During this
period she took part, in collaboration
with various chamber ensembles, in the
Pforte concert series in Feldkirch and
the Frauenschichten Festival in Hittisau.
Between 2016 and 2019 she taught cello
at Huesca’s Conservatorio Profesional.
She has participated in masterclasses with
Claudio Bohórquez, Stephan Forck, László
Fenyő, Jens-Peter Maintz, Tristan Cornut,
Michail Dmochovsky, Danjulo Ishizaka and
Xavier Gagnepain, among others. Her interest in early music has also led her to study
Baroque cello with Gaetano Nasillo. She is currently working towards two master’s
degrees: one in chamber music at the CSMA with Luis Fernando Pérez, Marta Gulyás,
André Cebrián and the Cuarteto Quiroga, the other in performance with Christoph
Henkel at the Musikhochschule Trossingen.Enrique Escartín Ara studied at the
CSMA, specialising in piano with
Iván Cítera and chamber music with
the Cuarteto Casals. Since 2007 he
has taught at the CSMA, working
with students of bassoon, flute,
trombone and singing. Under the
auspices of the Erasmus European
Mobility Programme, he taught
at Berlin’s University of the Arts
(UdK) in 2014, and at the Freiburg
University of Music in 2020. In
2018 he earned a master’s degree in
musical research and performance
from the Universidad Internacional
de Valencia.
Many thanks to Conservatorio Profesional de Música de Huesca
“Antonio Viñuales Gracia” and Diputación Provincial de Huesca (Spain)You can also read
