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Reviewer: Barry
Kilpatrick Ursula Paludan Monberg is principal horn of the English Concert. Arcangelo is a small period-instrument ensemble created and directed (from the harpsichord) by Jonathan Cohen, who is also director of Les Violons du Roy and is involved with Les Arts Florissants and the St Paul Chamber Orchestra. Here they tackle music that predates the invention and adoption of the valve, so Ms Monberg’s horn playing is done with breath and embouchure control, plus hand-in-bell position. It’s a high-wire act. Some of this literature is quite familiar, some not. Composer names are not known for two beautiful horn concertos that were found in a Swedish university library. Concerto in E is a double concerto with oboe d’amore, with lovely playing by Katharina Spreckelsen. The one in E-flat has a pair of oboes instead of violins in the accompaniment group. This is my introduction to two charming works by Carl Heinrich Graun: a Trio for violin, horn, and continuo and a Concerto in D for horn, oboe d’amore, and continuo. Telemann’s Concerto for recorder, horn, and continuo is also new to me. Deft work here by recorder-oboe player Sarah Humphrys. I’ve heard Haydn’s Divertimento for violin, horn, and cello (Hob IV: 5) several times, but only once before on natural horn (May/June 1997: 126). It might be the most technically demanding work on this album. And then there is the Mozart Horn Quintet, K 407, one of the cornerstones of horn chamber music. This reading uses the 1803 Andre edition, the first to include a horn part; previous editions, say the notes, “rescored the original horn part in the instrumentation of a string quintet”. Also, Andre “put some of the horn’s low notes an octave higher so that the part would better suit a specialist of the high register”. All of these readings are expressive and beautiful. Ms Monberg is an outstanding natural-horn player with exquisite skills.
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