In his catalogue, Mozart referred to the Horn Concerto No. 4 in E-flat Major, K. 495 as “a hunting horn concerto for Leutgeb.” (“Ein Waldhorn Konzert für den Leutgeb”).
Joseph Leutgeb (1732-1811) was Austria’s preeminent horn player. While employed as a court musician in Salzburg, he had known Mozart as a child. Later in Vienna, the two became close friends.
Composed in 1786, the Concerto is filled with warmth and good humor. Perhaps as a practical joke or hidden code, Mozart set out the manuscript in four different ink colors, alternating between blue, red, green, and black. Additionally, there is teasing commentary.
At the time, the horn was valveless, and, as a result, the pitches were limited to the natural harmonic series. Leutgeb was one of the first players to access more pitches through the practice of hand stopping. Mozart’s Concerto was written to showcase this skill.
The first movement (Allegro maestoso) unfolds as a musical conversation between soloist and orchestra. In Mozart’s instrumental music, the magical world of opera is never far away. This sense of drama and dialogue is especially apparent at the beginning of the development section, which takes a sudden turn to minor. It is at once shadowy and comic.
The second movement (Romance. Andante cantabile) is a serene and beautiful aria without words. The final movement (Rondo. Allegro vivace) celebrates the horn’s origins in the hunt. As hunting calls ring out, adventure is in the air.
This 2023 recording features horn player Sarah Willis, a member of the Berlin Philharmonic and classical music commentator. She is joined by conductor José Antonio Méndez Padrón and the Havana Lyceum Orchestra. This is an excerpt from Willis’ album, Mozart y Mambo, which blends Mozart with traditional Cuban music.
I. Allegro maestoso:
II. Romance. Andante cantabile:
III. Rondo. Allegro vivace:
Qué rico el mambo
As an encore, here is another track from Mozart y Mambo. It is by Qué rico el mambo by Dámaso Pérez Prado. Sarah Willis writes,
There is a statue of Wolfgang Amadeus Mozart in Havana. On my first visit to Cuba in 2017, I was told by one of the local musicians: “Mozart would have been been a good Cuban”. I was intrigued by this comment and thus began the inspiration for this life-changing project which spanned four years.
Recordings
- Mozart: Horn Concerto No. 4 in E-flat Major, K. 495, Sarah Willis, José Antonio Méndez Padrón, Havana Lyceum Orchestra Sarah-Willis.com