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CD79
Released: xxxxx
CD79A: Ignaz Böck (1754-1815)
Trios for two horns with 'cello
(10 Pieces for 2 Horns and Bass, Op.6)
CD79B: J. W. Stich (Punto)(1746-1803)
20 Horn Trios
Program Notes:
This is fine music, it's much simpler than our recent releases of the music of J. D. Artot
Music Samples (videos):
Tracks list:
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Jan Vaclav Stich was born in Žehušice in Bohemia. His father was a serf bonded to the estate of Count Joseph Johann von Thun, but Stich was taught singing, violin and finally the horn. The Count sent him to study horn under Joseph Matiegka in Prague, Jan Schindelarz in Munich, and finally with A. J. Hampel in Dresden (from 1763 to 1764). Hampel first taught Stich the hand-stopping technique which he later improved and extended.
Stich then returned to the service of the Count, where he remained for the next four years. At the age of 20 Stich and four friends ran away from the estate. The Count, who had invested heavily in Stich’s education, dispatched soldiers with orders to knock out Stich’s front teeth to prevent him ever playing the horn again, but they failed to capture the group, and Stich crossed into Italy, into the Holy Roman Empire.
On arriving in Italy, Stich changed his name to Giovanni Punto (an approximate Italianisation of his name) and went to work in the orchestra of Josef Friedrich Wilhelm, Prince of Hohenzollern-Hechingen. From there he moved to Mainz, to the court orchestra, but left after a few years when they did not give him the post of Konzertmeister. After this he began to travel and play as a soloist, touring much of Europe including England. Charles Burney heard him play in Koblenz in 1772, describing Punto as “the celebrated French horn from Bohemia, whose taste and astonishing execution were lately so applauded in London”.
Punto was particularly active in Paris, playing there 49 times between 1776 and 1788, but his use of hand-stopping was criticized by some in London, possibly due to the novelty of the technique.In 1777, he was invited to teach the horn players in the private orchestra of George III.
Punto also composed pieces to demonstrate his own virtuosity (a common practice then), which indicate that he was a master of quick arpeggios and stepwise passagework.
In 1778 Punto met Mozart in Paris, after which Mozart reported to his father Leopold that “Punto plays magnifique.” The same year Punto probably entered into an arrangements with some Parisian publishers; nearly all his subsequent compositions were published in Paris, whereas they were previously listed in Breitkopf‘s catalogue. A new horn was also made for him in 1778, a silver cor solo, which he used for the rest of his life.
Punto sought a permanent position in which he could conduct as well as compose and play, and in 1781 he entered the service of Franz Ludwig von Erthal, the Prince-bishop of Würzburg, later moving to become the Konzertmeister (with a pension) for the Comte d’Artois (later to become Charles X of France) in Paris. He was successful enough in this role that in 1787 he was able to secure leave of absence and tour the Rhineland in his own coach, a mark of considerable wealth at the time.
On returning to Paris in 1789 Punto was appointed conductor of the Théâtre des Variétés Amusantes, where he remained for ten years, leaving in 1799 when he was not appointed to the staff of the newly founded Paris Conservatoire. Moving on to Vienna via Munich, Punto met Ludwig van Beethoven, who wrote his Op. 17 Sonata for Horn and Piano for the two of them. They premiered the work on 18 April 1800 at the Burgtheater and played the work again the following month in Pest, Hungary.
In 1801, Punto returned to his homeland after 33 years, playing a grand concert on 18 May in the National Theatre in Prague. A reviewer commented that Punto “received enthusiastic applause for his concertos because of his unparalleled mastery, and respected musicians said that they had never before heard horn playing like it”. The reviewer commented on his innovative techniques, noting that “in his cadenzas he produced many novel effects, playing two and even three-part chords”, and added that Punto was evidence that Bohemia was able to produce “great artistic and musical geniuses”.
In 1802, after a short trip to Paris, Punto developed pleurisy, a common illness among wind players. He died five months later on 16 February 1803, being accorded a “magnificent” funeral in the Church of St. Nicholas attended by thousands. Mozart’s Requiem was performed at the graveside.
CD87 - RoB's Chamber Music volume two
CD86 - 19th Century Horn music by Lütgen & Wünderer
CD85 - Otto Nicolai Duets on Natural horn
CD84 - Artot Quartet No. 1
CD83 - Horn Quartets by Artot
CD82 - Horn Trios by Artot
CD81 - 64 String Quartets
CD80 - 64 Horn Quartets
CD79 - 18th Century Horn
CD78 - Beethoven & Reicha
CD77 - Yin-Yang Beauty No. 2
CD76 - Found These: Three
CD75 - RoB's Chamber Music volume one
CD74 - Following Glacier
CD73 - Handsome horn solos
volume two
CD72 - Gumpert Horn Quatets volume four
CD71 - Gumpert
Horn Quartets vol. 3
CD70 - Gumpert
Horn Quartets vol. 2
CD69 - Gumpert
Horn Quartets vol. 1
CD68 Handsome horn solos
volume one
CD67 - Glacier Suites etc.
CD66 - A Lake
of Violet Flames Op. 310
CD65 - More natural horn music
CD64 - 64 horn solos (icsV5), Op. 293
CD63 - 64 horn duets (icsV5), Op. 292
CD62 - The Mindset Nonet,
Op. 242
CD61 - Vortex Breathing
& I Ching Chants, Op. 244
CD60 - Wilder Graas Presser
CD59 - A Walk with Giants
& Motor 1 2 4 8 7 5
CD58 - Music We Publish
CD57 - Piano works: Wave, Relentless & more
CD56 - Particles
CD55 - Duets
CD54 - The 270's
CD53 - Burdick & Harbison Quartets
CD52- Found These Too
CD51- Microtonal
I Ching Cycles
CD50 - I Ching Elements
CD49 - Brass Music, Op. 9, 10, 45, 268, 269 &150b
CD48 - Giovanni Gastoldi
CD47 - I Ching Rhythms,Op. 209
CD46 - A Rainbow of
I Ching triads
CD45 - North American
Horn Music
CD44 - Opening the Sphinx
CD43 - Music of Silvio Coscia
CD42 - I Sound My Horn
CD41 - American Horn Music vol. 2
CD40 - Retrospective II- The horn Quartets
CD39 - Bach
by Popular Demand
CD38 - Matthew Locke
Broken & Flatte Consorts
CD37 - Microtonal music of
Richard Burdick
CD36 - Classical Natural Horn
Duvernoy & Schneider
CD35 - Twenty-Two Trios for Horns, Op. 156
CD34 - Natural Horn Music FOUND
CD33 - More than 64 Quartets for horns based on the I Ching
CD32 - American Horn Music
of the 40's & 50's
CD31 - Grand Music of J. F. Gallay, vol. 2
CD30 - Grand Music of J. F. Gallay, vol. 1
CD29 - Astral Waves
& Phosphor
CD28 - WAVES AND PARTICLES, opus 159
PART ONE - Waves
CD27a - Castelnuovo Tedesco horn quartet
CD27 - Anton Reicha Trios
Op. 82 & 93 complete
CD26 - Accuracy Studies For the French horn student
CD25a - Bach Cantata
BWV 132 No. 1
CD25 - Nice Notes
CD24 - Duets, opus 132 complete in the "one takes"
CD23 - More than 64 solos for Horn, Op. 139
CD22 – Naderman’s Music
for Horn and Harp
CD21 - Beyond Favorites
CD20 - Classical Gas
CD19a - Dauprat's trios
Op. 26
CD19 - Dauprat's Grand Music
CD18 - Louis-Francois Dauprat
Duos for Horns,
Opus 13 vol. 2
CD17 - Favorites
-
Barber,
Grieg,
Bach BWV 82 & 225
CD16 - Howlers Revised 2006
Dauprat Duets, Op. 14, Mozart
CD15 - J. S. Bach's Easter Oratorio, BWV 249
CD14 - Dauprat’s Op. 8
CD13 - 64 Duets, Op. 132 part two #17-34
CD12 - Reveré by V. Herbert
CD11 - 64 Duets, Op. 132 part one #1-16
CD10 - The Planets for
solo horn, opus 19
CD 9 - Louis-Francois Dauprat
Duos for Horns, Op. 13
CD 8 - Portal Solo Multi-phonic French horn In An Environment of drones & overtones.
CD 7 - INFINITY ONE
CD 6 - "Richard Burdick with tape"
CD 5 - "Let Me Out
CD 4 - 4.5 INCH SINGLE Aaron Blumenfeld’s Horn Sonata
CD 3 - H o w l e r s
Louis-François Dauprat’s
20 Duos for Natural
CD 2 - I Ching Arpeggios
CD 1 - Rebel with a Horn
BOTTOM OF THE RIGHT COLUMN