Johann Andreas Amon (1763-1825) was born in a small village just outside the German city of Bamberg. His early musical training was from members of the court orchestra. His first instrument was the violin, but later he developed an interest in the horn and became quite proficient. About this time, he attracted the attention of the famous Bohemian horn virtuoso who went by the name of Giovanni di Punto. (His real name was Jan Vaclav Stich.) Di Punto was serving as first horn and took Amon under his tutelage. Not long after, in the 1780s, di Punto embarked on a solo tour which took him to Paris. Amon went with and toured with him, ultimately becoming a virtuoso in his own right. Later, he held positions as music director at various courts. A relatively prolific composer, he wrote a fair amount of chamber music.
The Quintet in e minor, Op.118 for Flute, Horn, Violin, Viola, Cello, and Bass ad libitum was the second of two for this combination, which were published by the firm of Andre in 1825. As the original title—–2d Quintetto pour Flute & Cor, obliges, Violon, Alto & Violoncelle, Contre Bass ad lib, oeuvre 118.—–makes clear, the quintet is intended to be a vehicle for the flute and the horn. The strings play an accompanying but indispensable role. Though clearly written in the early Romantic style, the Quintet nonetheless remains in the concertante mode which has served Punto and Amon so well when they toured Paris in the 1780s. A cheerful, light-hearted serenade-like mood pervades the music. The key of E minor is only used to subdue and not darken the atmosphere, as is typical with the use of the minor. The Quintet follows a traditional structure, opening with an expansive Allegro moderato, which is followed by a brief Minuetto with a contrasting trio. The third movement is a Romanza filled with cantilena themes. Only in the finale, a Theme and set of five variations, does Amon venture away from the traditional form. The theme was originally entitled ‘Air Juif’ or Jewish air, presumably a popular song of the time, but surprisingly, it displays no particular Jewish character.
Our new edition is based on the 1825 Andre Offenbach publication. We have corrected some mistakes and added rehearsal letters. Certainly, both horn and flute players will be interested to have such a fine early Romantic work at their disposal.
