Harmoniemusik aus Hohenlohe-Oehringen

Schola Cantorum Basiliensis
Harmoniemusik aus Hohenlohe-Oehringen
arrangiert von W.E. Scholz (1843)
Studierende des Koninklijk Conservatorium Den Haag und der Schola Cantorum Basiliensis
unter freundlicher Mitwirkung von:
Flöte: Kristen Huebner*
Oboe: Aleksandr Fester, Maria Raffaele
Klarinette: Elise Bonhivert*, Michal Lewkowicz
Fagott: Hugo Rodriguez Arteaga*, Luke Toppin*, Giovanni Battista Graziadio
Horn: Emmanuel Frankenberg*, Jorge Manuel Fuentes
Trompete: Patrice Boileau*
Posaune: Audrey Christensen
Pauken: Antonio Pierna Garcia*
Kontrabass : Fred Uhlig
Leitung : Donna Agrell
Samstag, 8. März 2014, 19.30 Uhr
Neuer Saal, Eintritt frei
Ludwig van Beethoven
(1770–1827)
Ouverture Coriolan, op. 62
Gioachino Antonio Rossini
(1792–1868)
Aus: Mosè in Egitto:
Aria Faraone "A rispettarmi
apprenda" (M. Carafa)
Aria Amaltea "La pace mia
smarrita"
*******
Aus: La Cenerentola :
Aria Ramiro "Si, ritrovarla io
giuro";
Finale Secondo
Aus: Guillaume Tell
Allegro agitato "Ah, se privo di
speme è l'amore"
Ouverture : Andante-AllegroAndante-Allegro vivace
The term “Harmoniemusik” describes an ensemble popular during the late eighteenth and early nineteenth
centuries, often consisting of woodwind sextet or octet, although larger groups including flute, double bass and
brass were not uncommon. Providing entertainment at festive gatherings and social events, the wind ensemble
also performed concerts and serenades as well as arrangements of operatic works and had mobility to its
advantage, as no keyboard was required. The attractive financial aspect of maintaining such an ensemble (as
opposed to an entire orchestra plus singers) was certainly an important factor at smaller courts, enabling
performances of opera and orchestral works in this form, outside of major centers.
Compositions for an ensemble of thirteen players will be presented this evening, chosen from a large collection
of Harmoniemusik arrangements by W. E. Scholz, Kappellmeister and composer at the court of HohenloheOehringen during the first half of the nineteenth century. Two ouvertures, Beethoven's Coriolan and Rossini's
Guillaume Tell frame selected arias from Rossini's operas, Mosè in Egitto, La Cenerentola, and again Guillaume
Tell, featuring various wind instruments as 'soloists'.
These arrangements belong to collections presently housed in Hohenlohe-Zentralarchiv, Neuenstein, Landesarchiv Baden-Württemberg and contain works from Mozart, Beethoven, Weber, Rossini, Spohr, Mendelssohn,
Cherubini, Donizetti among others. According to Felix Loy in "Harmoniemusik in der Fürstenbergischen
Hofkapelle zu Donaueschingen" (Universität Tübingen, 2011) these works have not yet been extensively
examined and it is hoped that researchers and performers will consider these substantial collections in the near
future.
A joint collaboration of the Koninklijk Conservatorium Den Haag and Schola Cantorum Basiliensis brought
students from both locations together for an initial four-day rehearsal period in January in the Netherlands and
another two-day period in Basel culminating in a concert in Lisse (NL) and this evening's performance. We
heartily thank Kathrin Menzel from the Schola Cantorum Basiliensis and the staff at the Vera Oeri Bibliothek /
Musik Akademie Basel for their invaluable assistance in preparation of the score material.
(Donna Agrell)