The Autumn 2021 edition of The Recorder Magazine features an article by Brian Inglis about his 2 cadenzas for Anton Heberle’s Concerto in G Major for descant/soprano recorder. Brian himself tells us about this publication and the work which it discusses:
My article ‘Rehearing and rapprochement, or moustaches on the Mona Lisa?’ is published in the Autumn 2021 issue of The Recorder Magazine. It discusses my two cadenzas, originally written in 1991, for the Recorder Concerto in G by Anton Heberle and recently published with Composers Edition. Heberle was active in early 19th-century Vienna, playing and composing for the csakan – an instrument with recorder-like holes apparently resembling a walking stick. The cadenzas can be considered a kind of ‘rehearing’ of Heberle’s style (following the theory of Matthew Bribitzer-Stull). In this postmodern dialogue, modernist elements such as dodecaphony, microtones and multiphonics are teased out of Heberle’s Classical material. In this way latent potentialities are brought out which couldn’t have been realised in Heberle’s time. The approach bears some comparison with Schnittke’s cadenzas for Beethoven’s Violin Concerto, which one critic complained was like painting ‘moustaches on the Mona Lisa’ – though this wasn’t my intention!
Brian comments in the conclusion of the article:
Heberle’s concerto is no Mona Lisa, and my cadenzas intend no irreverence – I thoroughly enjoyed and appreciated entering into dialogue with a past composer and style in this way. Annotation, commentary and rehearing are all more appropriate analogies. And my take on Anton Heberle continued to give, for the middle section of the second cadenza gave rise to a major section in my own Recorder Concerto a couple of years later.Brian Inglis
2 cadenzas for Anton Heberle’s Concerto in G Major for descant/soprano recorder is proudly available for perusal and purchase through Composers Edition website, as well as other works by Brian Inglis.