Ludwig August Lebrun (1752-1790) - Flötenkonzert d-moll Nr.1

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Composer: Ludwig August Lebrun (1752-1790)
Work: Flötenkonzert d-moll Nr.1
Performers: Ricards BröhI (flute); Rheinisches Kammerorchester KöIn; Jan CorazoIIa (1931-1998, conductor)

Flötenkonzert d-moll Nr.1
1. Allegro 0:00
2. Grazioso 8:59
3. Allegro 14:18

Painting: Jean Pierre Norblin de la Gourdaine (1745-1830) - Akwedukt w Arkadii
Image in high resolution: https://flic.kr/p/2m21Ts1
Map: Alexis Hubert Jaillot (1632-1712) - La Palatinat et Electorat du Rhein (1708)
Image in high resolution: https://flic.kr/p/2m21TvT

Further info: https://www.amazon.com/Lebrun-Mozart-...
Listen free: https://open.spotify.com/album/69TV68...

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Ludwig August Lebrun [Brün, Le]
(Mannheim, bap. 2 May 1752 - Berlin, December 1790)

Oboist and composer. He was the son of Alexander Lebrun, an oboist from Brussels who played in the Mannheim orchestra. He seems to have studied the oboe with his father and played in the Mannheim orchestra as a boy, becoming a court musician at the age of 15. He retained that position for the remainder of his life in spite of almost continual absence on concert tours. In 1778 he married the singer Franziska Danzi. The couple performed in many European cities including London (1778) and Paris (1779), where the Mercure de France noted ‘a soft, velvety quality, a sweetness which one can hardly believe possible’ in his playing. During a later stay in London, the oboist W.T. Parke complained that ‘he occasionally played out of tune’. By the mid-1780s the couple's salaries were at the top of the Mannheim scale (3000 gulden), but they had to return much of this to compensate the other court musicians for their absence. Their international success reached a highpoint in Berlin in 1789. On a return visit in autumn 1790, Ludwig fell ill from inflammation of the liver and exhaustion, and he died in December; Franziska died only five months later. Lebrun appears to have been above the jealousy and rivalry normal in his profession. Regarding a joint performance with Carlo Besozzi, Forkel's Musikalischer Almanach (1782) announced that the two ‘fought like giants. Neither “lost”.’ Schubart stated that Lebrun ‘attained the maximum in perfection on the oboe’ (Deutsche chronik, ii, 1775, no.52, p.411. Among Lebrun's compositions the most important are his oboe concertos, which were doubtless intended for his own performance. The extant works fall into two groups, the first consisting of seven published by Sieber (Paris). These are in the mature Mannheim Classical style and were published in both for oboe and flute versions, with orchestra consisting of strings only (plus horns in no.2). They have an infectious charm and elegance of style which captured contemporary admiration. A second group published by André (Offenbach), perhaps as late as 1804, represents a substantial change of style. These were unquestionably conceived for oboe (though they were also published in versions for flute) and call for larger resources. Two are in minor keys, and a more dramatic mood prevails, foreshadowing early Romantic style.