The two horn concertos
of Richard Strauss were composed sixty
years apart, yet both are masterworks
worthy of their composer's genius. Of
all instruments Strauss was entitled
to be aware of the horn's potential
in a solo capacity, since his father
Franz was a leading virtuoso who had
himself written a brilliant concerto
the year after Richard was born.
Franz Strauss composed
the virtuoso concerto his reputation
would suggest, and though the musical
style looks back to Mendelssohn rather
than anticipating later masters, its
three movements still contain an abundance
of opportunities for the soloist and
the orchestra, and ample entertainment
for the listener. This description serves
equally well for the performers on this
CD, since Zdenek Tylsar establishes
his credentials as a sensitive master
of the instrument, and he is well supported
by the Czech Philharmonic and Vacav
Neumann.
Recorded in 1979 with good clear sound, these
performances of the two Richard Strauss concertos can live with
the best. David Pyatt and the Britten Sinfonia (Classics for
Pleasure) enjoy slightly more sophisticated sound, but the
Supraphon performance is perfectly satisfactory. In the first
movement of the Concerto No. 1 the strings'
accompaniment is somewhat prosaic and
chugging, but held in a sensitive balance
with the solo line. Tylsar's tone in
the second movement is the highlight
of the performance; absolutely secure
and always sensitive to nuances of dynamic.
The Concerto No. 2
may have been written sixty years later,
but it sounds just as lively and fresh
as its predecessor. The writing is more
sensitive still, of course, the result
of all Strauss's experience. The music
dates from 1942 and, particularly in
the orchestral accompaniment, shows
altogether richer and more adventurous
techniques than its predecessor, as
the Supraphon recording confirms. Again
we find Strauss's complete understanding
of the horn's true character, with Tylsar
again on sparkling form. Several natural
characteristics exploited: the ceremonial,
fanfare-like qualities; the soft cantabile
and silky legato which are among the
horn's special glories. In the swift
moving rondo finale, the music increasingly
depends upon the mastery and sheer agility
of the soloist in order to project its
nature. Tylsar plays brilliantly, and
so too does the Prague Symphony Orchestra.
Although Mozart enjoyed
a close relationship with Prague, he
wrote his horn concertos for his Viennese
friend Anton Leitgeb. Zdenek Tylsar
plays the second concerto with appropriate
panache, and he is well supported by
the recording engineers and the Czech
Philharmonic Orchestra. The generous
acoustic of the Rudolfinum helps create
a warmly supportive environment in the
central slow movement, but it is the
hunting horn rondo finale that makes
the most lasting impression. Since this
performance is offered in mixed company
with the concertos by the Strausses,
there is no need to play Tylsar off
against the likes of Dennis Brain and
Barry Tuckwell, to name but two masters
of the horn. Instead this performance
of the Mozart Concerto No. 3 can be
enjoyed in its own right, and a splendid
player given the accolade he deserves.
Terry Barfoot
Zdenek Tylsar (horn) 
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