Andrew Clark On Concerto Preparation
Q: How do I prepare to perform a Mozart horn concerto with PBO?
A: Firstly, the notes don’t need learning - I have known the notes of all the Mozart horn concertos since I was about the age of 14, but I do need to remind myself how to play them well, and consider how I will want to play them this time.
Importantly, I need to decide on which instrument I will choose to use for it. In the case of a horn player using a historical instrument, it might be expected that the player would have their instrument all ready to go, and indeed that could be my case too, except there are complications. Over the course of time, I have acquired several historical models of natural horns and they all play slightly differently and have different qualities which I need to consider before choosing the one to use for the particular piece and concert. These include better notes in some registers, subtle differences of intonation in the scale, and ease of playing different dynamics. For April’s performances I will choose between three instruments: 1) a reproduction horn from about 1800 modelled on an original from Prague, which I have used for many performances of Classical repertoire over the last twenty years; 2) a historical horn made in Paris in 1818, which I have successfully used for Mozart in the past and which I purchased from the previous owner with a promise to keep it in the public eye and ear; and 3) a horn that is, as I write, mid-production in my own workshop, but is the second of a pair of horns I am making modelled on another horn from around 1800 by another Bohemian maker. The third option depends on how much shop time I get before April, but the first of the pair turned out so well, that I wish I could use it, but it is promised to my customer before then!
The first option is certainly usable, but my taste over the years has changed and I find this one a little bit loud for this role. There is one note on it (a “wolf” note) which requires extra care and unfortunately occurs often in this particular Mozart concerto. So I expect this one will not be my choice.
Photo of horn by Webb-Halstead modelled on an original by Franz Stohr, c.1800
The second option (which I suspect has been listed in the programme!) is by the famous Parisian maker Lucien-Joseph Raoux (1752-1823), a member of a family of horn manufacturers which spanned four generations, and who supplied many of the most famous horn players of their day. One of their instruments was made for the virtuoso Giovanni Punto, whom Mozart met in Paris, and for whom he composed the horn parts of his Quintet for Fortepiano and Winds, K452 in 1784, and his Sinfonia Concertante K279b (probably 1778). My instrument may be three decades more up to date than Punto’s model, but is still a wonderful original instrument option for this concerto. The historical crooks that I have with it may or may not belong with it; they are not the most reliable for it, so earlier this year I made a new E-flat crook which helps to focus the sound and intonation.
Horn by Raoux, Paris, 1818, with decorated bell
My third option could be an opportunity to test out my latest model in public, which I would love, but depends so much on having time to finish it. If it plays at all like the last one it will make my decision that much more difficult because it will be a little easier to play than the Raoux. However, the challenge of making an old horn sound fresh more than 200 years after its production may still prove to be irresistible.
Unfinished horn from the Clark Brass workshop, 2023, after Lausmann c.1800
Decisions regarding interpretation and phrasing have a long history, both within my lifetime and beyond, but will be revisited before and during rehearsals. Finally, I need to be physically in shape to perform, so that means being in good health and in good practice. Now, shall I go out for a hike, or do some practice?
- Andrew Clark, PBO principal horn