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” I. .Eine Kleine Nachtmusik, K. 525: l Allegro (00:00)

1. Eine Kleine Nachtmusik, K. 525: ll. Romanze Andante (7:45)

2. Eine Kleine Nachtmusik, K. 525: Ill. Menuetto Allegretto (12:50)

3. Eine Kleine Nachtmusik, K. 525: IV. Rondo Allegro (14:50) 5. Symphony No 35 in D major, K. 385 (Haffner Symphony): I. Allegro con spirito (20:08)

4. Symphony No 35 in D major, K. 385 (Haffner Symphony): IV. Presto (25:54)

5. Symphony No 40 in G minor, KV. 550: l. Molto Allegro (29:53) 8. The Magic Flute: Overture (37:29)

6. The Marriage of Figaro: Overture (44:41)

7. String Quartet No. 23 in F major, K. 590: l.

8. Allegro moderato (49:12) 11. String Quartet No. 23 in F major, K. 590: IV. Allegro (58:13)

9. String Quartet No. 20 in D major, K. 499: ll. Menuetto and Trio. Allegretto (1:03:17)

10. Violin Sonata No. 26 in B-flat major, K. 378: Ill. Rondo. Allegro (1:06:38)

11. Piano Concerto No. 21 in C major, K. 467: ll. Andante (1:10:46)

12. Piano Concerto No. 23 in A major, K. 488: I. Allegro (1:16:25)

13. Piano Sonata No. 11 in A major, K. 331: Ill. Alla Turca (1:27:15)

14. Clarinet Concerto in A major, K. 622: ll. Adagio (1:29:35)

15. Violin Concerto No. 3 in G major, K. 216: l. Allnnm (1:36:36)

16. Flute Concerto No. 2 in D major, K. 314: ll. Adagio non troppo (1:46:08)

17. Horn Concerto No. 3 in E-flat major, K. 447: ll. Romance. Larghetto (1:51:36)

great compositions/performances: Mozart – Symphony No. 40 in G minor, K. 550

Mozart – Symphony No. 40,

in G minor, K. 550

Am4d3usM0z4rt

Uploaded on Feb 20, 2012

Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the “Great G minor symphony,” to distinguish it from the “Little G minor symphony,” No. 25. The two are the only minor key symphonies Mozart wrote. The 40th Symphony was completed on 25 July 1788. The composition occupied an exceptionally productive period of just a few weeks in 1788, during which time he also completed the 39th and 41st symphonies (26 June and 10 August, respectively). The symphony is scored (in its revised version) for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. Notably missing are trumpets and timpani.
The work is in four movements, in the usual arrangement (fast movement, slow movement, minuet, fast movement) for a classical-style symphony:
1. Molto allegro, 2/2
2. Andante, 6/8
3. Menuetto. Allegretto — Trio, 3/4
4. Finale. Allegro assai, 2/2.
Every movement but the third is in sonata form; the minuet and trio are in the usual ternary form. This work has elicited varying interpretations from critics. Robert Schumann regarded it as possessing “Grecian lightness and grace”. Donald Francis Tovey saw in it the character of opera buffa. Almost certainly, however, the most common perception today is that the symphony is tragic in tone and intensely emotional; for example, Charles Rosen (in The Classical Style) has called the symphony “a work of passion, violence, and grief.”
Although interpretations differ, the symphony is unquestionably one of Mozart’s most greatly admired works, and it is frequently performed and recorded. Ludwig van Beethoven knew the symphony well, copying out 29 measures from the score in one of his sketchbooks. It is thought that the opening theme of the last movement may have inspired Beethoven in composing the third movement of his Fifth Symphony.
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Mozart – Piano Sonata No. 15 in F, K. 533 / K. 494

Am4d3usM0z4r

Uploaded on Dec 22, 2011

Wolfgang Amadeus Mozart’s Piano Sonata No. 15 in F major, KV 533/494 (finished January 3, 1788) is a sonata in three movements:
1. Allegro
2. Andante
3. Rondeau, Allegretto
A typical performance takes about 23 minutes.
The F Major sonata was written in two parts — hence, the two Köchel numbers. The Rondeau finale was originally written as a separate piece as K. 494. A few months later, the first two movements were written. At his publisher Hoffmeister’s request, he joined K. 494 to them to form a three-movement sonata, referred to as K. 533, adding a twenty-seven measure cadenza to the Rondo making use of lower registers of the piano not heard in the rest of the movement.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
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and http://imslp.org/wiki/
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NOTE: I do not know who the performers of this are, nor the place and date of recording!!! Any suggestions are welcome.

Historic Musical Bits: David Oistrakh – Mozart – Violin Concerto No 3 in G major, K 216

David Oistrakh – Mozart – Violin Concerto No 3 in G major, K 216

Classical Vault 2

Published on Jan 14, 2015

Wolfgang Amadeus Mozart
Violin Concerto No 3 in G major, K 216

David Oistrakh, violin & conductor

Berlin Philharmonic Orchestra

Berlin, March 1971
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From Wikipedia, the free encyclopedia

The Violin Concerto No. 3 in G major, K. 216, was composed by Wolfgang Amadeus Mozart in Salzburg in 1775. Mozart was only 19 at the time.

Movements

The piece is in three movements:

1. Allegro
2. Adagio
3. Rondeau. Allegro

I. Allegro

The Allegro is in sonata form, opening with a G major theme, played by the orchestra. The main theme is a bright and happy discussion between the solo violin and the accompaniment, followed by a modulation to the dominant D major, then its parallel key D minor. It experiments in other keys but does not settle and eventually heads back to the tonic, G major, in the recapitulation with the help of the cadenza.

II. Adagio

The second movement is also in ternary form, and in the dominant key of D major. The orchestra begins by playing the well known and beautiful main theme, which the violin imitates one octave higher. The winds then play a dance-like motif in A major, which the violin concludes by its own. After a conclusion in A, the violin plays the main theme again, remaining in the same key. When it should have sounded A natural, it sounds A sharp, and the melody switches to B minor, in a fairly tragic passage. It soon modulates back to A major, and to the home key of D major through the main theme. After the cadenza, and in a quite unusual thing for Mozart to do, the violin plays the main theme again, thus concluding the movement in D.

III. Rondeau

The third movement is a Rondeau Allegro, and opens with an orchestra theme which gave the concerto its nickname: “Straßburg”.^[1] After a lonely, short passage by the oboes only, the solo violin enters with a different melody which modulates to D. A brilliant and high passage in D is soon followed by a descending arpeggio-like melodic line which eventually leads to the G string and repeats itself. After the second time, the violin plays the lonely oboe line from the introduction. A chromatic scale then leads to the “Straßburg” theme with the violin playing. The orchestra imitates the violin and abruptly changes to B minor and a B minor violin theme: exactly the same theme as in the first violin solo, played in the relative minor key. As the theme itself repeats, it once again abruptly changes to E minor. The small E minor cadenza introduces the orchestra, which once again plays the “Straßburg” theme in G major. After a couple of bars in D major by the orchestra, the music goes from Allegro to an Andante in G minor, almost in the fashion of a scherzo-trio form. The strings play saltando quavers while the violin plays a note-rest small melodic line which repeats itself and eventually leads to a G major Allegretto. The violin plays a crotchet-only playful theme, while the orchestra plays brilliant and fast threesome up-and-down notes, in a way that the solo violin’s part acts as a background only. The parts switch and now the orchestra plays the playful theme, while the violin gets to show off by playing fast notes. The quick passages stop for the violin to play a more ceremonial theme played on the D and A strings, in the fashion of a Musette. This pattern sounds two more times until the violin concludes the fast theme with a low G, and switches to Tempo 1. After a few bars, the first solo theme that the violin played is played as a variation in A minor. The violin plays the “Straßburg” theme in G minor, and the orchestra imitates it in the usual form of G major. After the typical first solo variation, this time in the tonic key. The violin plays another small cadenza which leads to the last “Straßburg” theme played in two octaves. The orchestra plays it one third time in the lower octave. Instead of ending the concerto in a pompous way, Mozart chose to end it instead with the lonely oboe theme in G major played piano, adding the feeling of a musical “disappearing”.

great compositions/performances: Mozart – Symphony No. 35 in D, K. 385 (Haffner)

Mozart – Symphony No. 35 in D, K. 385  (Haffner)

Am4d3usM0z4rt

Uploaded on Feb 23, 2012

Symphony No. 35 in D major, K. 385, was composed by Wolfgang Amadeus Mozart in 1782 and is also called the Haffner Symphony. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of Sigmund Haffner’s ennoblement. The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission from the same family in 1776. The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D and G, 2 trumpets in D, timpani, and strings. Mozart’s choice of key for the Haffner Symphony is an aspect that catches one’s attention. According to Cuyler, “the key of D major, which was so felicitous for the winds, served Mozart more often than any other key, even C, for his symphonies,” including the Paris (No. 31) and Prague (No. 38) symphonies. The key is also indicative of the work’s serenade origins as all of Mozart’s orchestral serenades are scored in D major. Hence, it is not surprising that the Haffner Symphony was written in the key of D major. The symphony is in four movements:
1. Allegro con spirito, 4/4
2. Andante, 2/4
3. Menuetto, 3/4
4. Presto, 2/2.
The Haffner Symphony usually runs somewhere around 20 minutes in length. A recording by George Szell with the Cleveland Orchestra (Sony SBK 46333) runs 19.11; one by Iona Brown with the Academy of St. Martin in the Fields (Haenssler CD 94.003) is 21.09; and one by Sir Neville Marriner also with the same ensemble (Philips 420 486-2) runs 21.34.

make music part of your life series: Mozart – String Quartet No. 14 in G, K. 387 (“Spring”)

https://www.youtube.com/watch?v=5BS_rG_XZ0Y%5B/emebed%5D

Mozart – String Quartet No. 14 in G, K. 387 [complete] (Spring)

Am4d3usM0z4rt

Published on Apr 29, 2012

The String Quartet No. 14 in G major, K. 387, nicknamed the “Spring” quartet, was composed by Wolfgang Amadeus Mozart in 1782 while in Vienna. In the composer’s inscription on the title page of the autograph score is stated: “li 31 di decembre 1782 in vienna”. The work was perhaps edited in 1783. This is the first of the Haydn Quartets, a set of six string quartets he wrote during his first few years in Vienna in honor of the composer Joseph Haydn, who is generally viewed as the father of the string quartet form. As with all later Mozart quartets, this quartet has four movements:
I. Allegro vivace assai
II. Menuetto
III. Andante cantabile, in C major
IV. Molto allegro
The first movement, in G major, contrasts fairly diatonic passages with chromatic runs. According to (Williams, 1997) “it must come as something of a surprise to anyone examining this quartet just how much chromaticism there is in it.” In contrast to the standard quartet form, which places the minuet as the 3rd movement, this quartet has the minuet as its 2nd movement (another example of this ordering is the String Quartet No. 17). It is a long minuet, written in the tonic key of G major, with its chromatic fourths set apart by note-to-note dynamics changes. The minuet is followed by a slow movement in the subdominant C major, whose theme explores remote key areas.
The fugal theme of four whole notes in the finale points ahead to the finale of Mozart’s “Jupiter” Symphony of 1788, a movement which also begins with four whole notes that are used in a fugal fashion, in the coda, and it also points back to Michael Haydn’s Symphony No. 23 in which the finale is also a fugato based on a theme of four whole notes, which Mozart copied out the first few bars of and was mistakenly entered into Köchel’s original catalog as K. 291.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
and http://imslp.org/wiki/

Mozart / Horn Quintet in E-flat major, K. 407 (Timothy Brown)

scrymgeour34

Published on Jun 14, 2012

Wolfgang Amadeus Mozart (1756-1791)

Horn Quintet in E-flat major, K. 407/386c (1782)

00:00 – Allegro
06:22 – Andante
13:50 – Allegro

Performed by members of the Academy of St. Martin-in-the-Fields Chamber Ensemble (1980).

Horn – Timothy Brown
Violin – Iona Brown
Viola I – Stephen Shingles
Viola II – Anthony Jenkins
Violoncello – Denis Vigay

“The Horn Quintet K. 407 is more of a concerto ‘en miniature’ than a chamber work. Remarkably, the string quartet contains not two violins but two violas, and functions principally as an accompaniment, whilst the horn provides the distinctive colouring. The two outer movements, like most of Mozart’s music for Leutgeb, are humorous in character, particularly the rondo finale, which opens with a jovial fanfare theme. As in the horn concertos the limited possibilities of the natural horn are exploited wittily and skilfully; even cadenzas are provided for. In contrast to the outer movements, the Andante has a lyrical, cantabile quality. The violin becomes independent and performs a duet with the horn.” – Alfred Beaujean (trans. Joanne Poole)

Painting: A Courtesan (Smiling Girl Holding an Obscene Image), Gerard van Honthorst

great compositions/performances: ,Hilary Hahn – Mozart – Violin Concerto No 4 in D major, K 218

Hilary Hahn – Mozart – Violin Concerto No 4 in D major, K 218

Classical Vault 2

Published on Jul 30, 2013

Wolfgang Amadeus Mozart
Violin Concerto No 4 in D major, K 218

1 Allegro
2 Andante cantabile
3 Rondeau. Andante grazioso – Allegro ma non troppo

Hilary Hahn, violin

BBC Symphony Orchestra
Andrew Davis, conductor

best classical music, Schubert Symphony No 5 B flat major Bavarian RSO Maazel , make music part of your life series

Schubert Symphony No 5 B flat major Bavarian RSO Maazel

La Casa di Davide

Published on Mar 24, 2014

Franz Schubert Symphony No. 5 in B flat major, D. 485
Lorin Maazel conducts Bavarian Radio Symphony Orchestra
Allegro in B♭, in cut (2/2) time.
Andante con moto in E♭, in 6/8 time 4:50
Menuetto. Allegro molto in G minor, in 3/4 time, with a Trio in G major 15:58
Allegro vivace in B♭, in 2/4 time 21:36
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From Wikipedia, the free encyclopedia

Franz Schubert‘s Symphony No. 5 in B flat major, D. 485, was written mainly in September 1816 and completed on October 3, 1816.^[1] It was finished six months after the completion of his previous symphony.

Scored for one flute, two oboes, and two bassoons, along with two horns in B♭ and E♭ and strings. Of all of Schubert’s symphonies, it is scored for the smallest orchestra. It is the only one of his symphonies which does not include clarinets, trumpets or timpani as part of the instrumentation.

In character, the writing is often said to resemble Mozart; Schubert was infatuated with the composer at the time he composed it, writing in his diary on June 13 of the year of composition, “O Mozart! immortal Mozart! what countless impressions of a brighter, better life hast thou stamped upon our souls!”^[2] This is reflected particularly in the lighter instrumentation, as noted above. Indeed, the instrumentation matches that of the first version (without clarinets) of Mozart’s 40th symphony.^[3

There are four movements:

1. Allegro in B♭, in cut (2/2) time.
2. Andante con moto in E♭, in 6/8 time.
3. Menuetto. Allegro molto in G minor, in 3/4 time, with a Trio in G major.
4. Allegro vivace in B♭, in 2/4 time.

First movement

This is the first Schubert symphony that does not begin with a slow introduction. What starts the movement is a four-bar structural upbeat similar to the one that begins the finale of his 4th symphony before the main theme starts on bar 5.^[3] The main is a simple rising arpeggio with a dotted rhythm that dominates all of the themes of the exposition. The first movement is a slightly unusual sonata form since the recapitulation begins, as in the first movement of Mozart’s sonata facile (and Schubert’s ‘Trout’ Quintet), in the subdominant, not in the main key of the piece as is more usual.

Second movement

The slow movement opens with a theme in two repeated stanzas. Without pause there is a modulation into C♭ that is very characteristic of Schubert, even at age 19. The return to the main theme is straight, passing through G minor on the way; there is a repetition of the distant modulation afterwards, though to G♭ this time and with a more immediate return.

Third movement

The menuetto has the chromaticism though not the polyphony of the menuetto of Mozart’s 40th symphony. The progression used mid-way through the movement to modulate is borrowed almost directly from the 40th — using the same approach (a gradual layering of instruments) to a dominant 7th chord. (It might be interesting to compare the Schubert to other minor‐mode symphonic minuets of the time, however.) The trio is quiet throughout, and only gradually accumulates instruments, beginning with only bassoon and strings, and with a subtle suggestion of a pastoral mood over held lower string notes.

Fourth movement

The finale is the shortest of the four movements.

best classical music: , Mozart – Violin Sonata No. 35 in A major, K. 526 , great compositions/performances

Mozart – Violin Sonata No. 35 in A major, K. 526

oppie47

Published on Mar 30, 2011

I. Molto allegro [0:00]
II. Andante [9:30]
III. Presto [19:50]

Sigiswald Kuijken, violin
Luc Devos, fortepiano

performed on period instruments

Painting of Mozart by Barbara Krafft

• Music

  • “Sonata for Keyboard and Violin No. 35 in A Major, K. 526: III. Presto” by Sigiswald Kuijken (Google Play • eMusic • iTunes • AmazonMP3)

Best Classical Music Series: Mozart – Piano Concerto No. 21, K.467 / Yeol Eum Son,

Mozart – Piano Concerto No. 21, K.467 / Yeol Eum Son

alddo3

Published on Dec 18, 2014

2011 Tchaikovsky Competition – Piano Round II, Phase II

Mozart – Concerto for Piano and Orchestra No. 21 in C major, K.467

Yeol Eum Son (South Korea)
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Structure

The concerto has three movements:

1. Allegro maestoso; in common time. The tempo marking is in Mozart’s catalog of his own works, but not in the autograph manuscript.^[3]
2. Andante in F major. In both the autograph score and in his personal catalog, Mozart notated the meter as Alla breve. ^[4]
3. Allegro vivace assai

The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass. The march returns, eventually transitioning to the entrance of the soloist. The soloist plays a brief Eingang (a type of abbreviated Cadenza) before resolving to a trill on the dominant G while the strings play the march in C major. The piano then introduces new material in C major and begins transitioning to the dominant key of G major. Immediately after an orchestral cadence finally announces the arrival of the dominant, the music abruptly shifts to G minor in a passage that is reminiscent of the main theme of the Symphony No. 40 in that key.^[5] A series of rising and falling chromatic scales then transition the music to the true second theme of the piece, an ebullient G major theme which Mozart had previously used in his Third Horn Concerto. The usual development and recapitulation follow. There is a cadenza at the end of the movement, although Mozart’s original has been lost.

The famous Andante is in three parts. The opening section is for orchestra only and features muted strings. The first violins play with a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. All of the major melodic material of the movement is contained in this orchestral introduction, in either F major or F minor. The second section introduces the solo piano and starts off in F major. It is not a literal repeat, though, as after the first few phrases, new material is interjected which ventures off into different keys. When familiar material returns, the music is now in the dominant keys of C minor and C major. More new material in distant keys is added, which transitions to the third section of the movement. The third section begins with the dreamlike melody again, but this time in A-flat major. Over the course of this final section, the music makes it way back to the tonic keys of F minor and then F major and a short coda concludes the movement.

The final rondo movement begins with the full orchestra espousing a joyous “jumping” theme. After a short cadenza, the piano joins in and further elaborates. A “call and response” style is apparent, with the piano and ensemble exchanging parts fluidly. The soloist gets scale and arpeggio figurations that enhance the themes, as well as a short cadenza that leads right back to the main theme. The main theme appears one final time, leading to an upward rush of scales that ends on a triumphant note.

Recordings

This work has been recorded numerous times by many famous pianists including Géza Anda, Piotr Anderszewski, Vladimir Ashkenazy, Daniel Barenboim, Malcolm Bilson, Alfred Brendel, Robert Casadesus, Ivan Drenikov, Annie Fischer, Walter Gieseking, Friedrich Gulda, Stephen Hough, Keith Jarrett, Wilhelm Kempff, Walter Klien, Alicia de Larrocha, Giorgi Latsabidze, Rosina Lhevinne, Dinu Lipatti, Radu Lupu, Murray Perahia, Maria João Pires, Maurizio Pollini, Arthur Rubinstein, Fazil Say, András Schiff, Artur Schnabel, Rudolf Serkin, Howard Shelley, Mitsuko Uchida, and Christian Zacharias.

Cultural references

The second movement was featured in the 1967 Swedish film Elvira Madigan.^[1][6] This has led to an anachronistic nickname of Elvira Madigan for the concerto.^[7][8][9]

Neil Diamond’s 1972 song “Song Sung Blue” was based on a theme from the andante movement of the concerto.^[10]

An electronic arrangement of the concerto’s first movement was used as the main theme of the TV series Whiz Kids.

Leonid Kogan – Mozart – Adagio in E major, K 261 , great compositions/performances

Leonid Kogan – Mozart – Adagio in E major, K 261

Classical Vault 1

Wolfgang Amadeus Mozart
Adagio in E major for violin and orchestra, K 261

Leonid Kogan, violin

Moscow Philharmonic Orchestra
Pavel Kogan, conductor

Live recording, May 1981

Mozart. Piano Concerto No. 20 in D minor, K466 – Martha Argerich (1998) , great compositions/performances

Mozart. Piano Concerto No. 20 in D minor, K466 – Martha Argerich (1998)

Facconti

Published on Jun 4, 2012

Wolfgang Amadeus Mozart (1756-1791).
Piano Concerto No. 20 in D minor, K 466. (Cadenzas, L. v. Beethoven)
I. Allegro
II. Romance 13:32
III. Allegro Assai 22:18

Alexandre Rabinovitch, Orchestra di Padova e del Veneto.
Martha Argerich, piano.
Palazzo Giusti, Padova, September 1998.

Happy birthday Bach: Mozart Quartet No 19 K 465 Dissonanze Dissonances Hagen Quartet

Mozart Quartet No 19 K 465 Dissonanze Dissonances Hagen Quartet

La Casa di Davide

x

The String Quartet No. 19 in C Major, KV. 465 by Wolfgang Amadeus Mozart, nicknamed “Dissonance” on account of its unusual slow introduction, is perhaps the most famous of his quartets. It is the last in the set of six quartets composed between 1782-1785 that he dedicated to Joseph Haydn.
According to the catalog of works Mozart began early the preceding year, the quartet was completed on January 14, 1785. As is normal with Mozart’s later quartets, it is in four movements:
1. Adagio-Allegro
2. Andante cantabile – in F major
3. Menuetto. Allegro. (C major, trio in C minor)
4. Allegro molto
The first movement opens with ominous quiet Cs in the cello, joined successively by the viola (on A♭ moving to a G), the second violin (on E♭) and the first violin (on A), thus creating the “dissonance” itself and narrowly avoiding a greater one. This lack of harmony and fixed key continues throughout the slow introduction before resolving into the bright C major of the Allegro section of the first movement, which is in sonata form. Mozart goes on to use chromatic and whole tone scales to outline fourths. Arch shaped lines emphasizing fourths in the first violin (C – F – C) and the violoncello (G – C – C’ – G’) are combined with lines emphasizing fifths in the second violin and viola. Over the barline between the second and third measures of the example a fourth-suspension can be seen in the second violin’s tied C. In another of his string quartets, KV 464, such fourth-suspensions are also very prominent.
The second movement is in sonatina form, i.e. lacking the development section. Alfred Einstein writes of the coda of this movement that “the first violin openly expresses what seemed hidden beneath the conversational play of the subordinate theme.” The third movement is a minuet and trio, with the exuberant mood of the minuet darkening into the C minor of the trio. The last movement is also in sonata form.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
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Mozart / Serenade in G major, K. 525 “Eine kleine Nachtmusik” (Mackerras) , great compositions/performances

Mozart / Serenade in G major, K. 525 “Eine kleine Nachtmusik” (Mackerras)

scrymgeour34

Wolfgang Amadeus Mozart (1756-1791)

Serenade No. 13 for strings in G major, K. 525 “Eine kleine Nachtmusik” (1787)

00:00 – Allegro
08:09 – Romance. Andante
13:52 – Menuetto. Allegretto – Trio
16:19 – Rondo. Allegro

Performed by Charles Mackerras and the Prague Chamber Orchestra (Telarc: 1985).

Painting: Harlequin and a Lady, Konstantin Somov

Mozart / String Quintet No. 5 in D major, K. 593 , great compositions/performances

Mozart / String Quintet No. 5 in D major, K. 593

scrymgeour34

Uploaded on Jan 3, 2012

Wolfgang Amadeus Mozart (1756-1791)

String Quintet No. 5 in D major, K. 593 (1790)

00:00 – Larghetto – Allegro
10:13 – Adagio
17:36 – Menuetto (Allegretto)
22:56 – Finale (Allegro)

Violin: Arthur Grumiaux & Arpad Gérecz
Viola: Georges Janzer & Max Lesueur
Cello: Eva Czako

“The two last string quintets followed in December 1790 and April 1791, supposedly on commission from a Hungarian said to be the wholesale merchant Johann Tost of Ungarisch-Hrodisch in Moravia, himself an excellent violinist, and the bearer of the dedications of two series of quartets by Haydn of 1789 (51-56) and 1790 (57-62). Since Tost had recently become wealthy by marriage, perhaps Mozart was well paid for these two works, at least. He should have been; both bear all the earmarks of compositions intended for a connoisseur.

“The first, in D major, K. 593, begins with a Larghetto, which juxtaposes the ‘cello (Mozart has not completely forgotten the King of Prussia) and the group of higher instruments; question and answer are repeated at once on a higher step of the scale— a typical beginning for the great instrumental works of the last period (the Piano Sonata in D, K. 576, the fragments of movements for piano, K. Anh. 29 and 30, the Quartet, K. 590, etc.) and a procedure of which Beethoven took careful note, as we see in the String Quartet Op. 59, No. 2, for example. This Larghetto returns at the end of the following Allegro, and leads to a quite short, abrupt conclusion—consisting simply of the eight opening measures of the Allegro. Thus this whole Allegro itself has a somewhat groping, combinative character, with an impetuous development section in two parts, the first marchlike, the second warlike. The recapitulation achieves its effect by means of intensified polyphony. It is a very unusual movement for Mozart, being definitely introductory in character. It leads to a deeply felt Adagio, related to the slow movement of the ‘Jupiter’ Symphony, with three-part responses as in the five-part madrigals of the sixteenth century, and containing the finest polyphonic development. The Minuet is a bit Haydnish—manly, with a concluding canon as a ‘trump card’ and a ‘spiccato’ Trio. The Rondo, finally, is of the richest maturity, with its playful theme, its fugati in which ‘learnedness’ takes on wit and charm without forfeiting any of its earnestness. The beginning of the theme, originally a chromatically descending fifth, gains grace and character by means of a single stroke.” – Alfred Einstein

Painting: Self-Portrait, Anthony van Dyck

Mozart – Violin Concerto No. 4 in D, K. 218

Am4d3usM0z4rt

Uploaded on Oct 24, 2011

Violin Concerto No. 4 in D major K. 218 was composed by Wolfgang Amadeus Mozart in 1775 in Salzburg. The autograph of the score is preserved in Biblioteka Jagiellońska, Kraków. The concerto has the usual fast-slow-fast structure and lasts around 23 minutes. The movements are:
1. Allegro
2. Andante cantabile
3. Rondeau (Andante grazioso – Allegro ma non troppo).
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
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Mozart: Overture – ‘La Finta Semplice’

Thewisemonkey9

Published on Dec 2, 2012

Wolfgang Amadeus Mozart (German: [ˈvɔlfɡaŋ amaˈdeus ˈmoːtsaʁt], English see fn.), name Johannes Chrysostomus Wolfgangus Theophilus Mozart (27 January 1756 — 5 December 1791), was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that “posterity will not see such a talent again in 100 years… http://en.wikipedia.org/wiki/Wolfgang…

La finta semplice (The Pretended Simpleton), K. 51 (46a) is an opera buffa in three acts for soloists and orchestra, composed in 1769 by then 12-year-old Wolfgang Amadeus Mozart to an Italian libretto by the court poet Marco Coltellini based on an early work by Carlo Goldoni. Mozart composed the music using the model of comedy started by Philippe Destouches with La fausse Agnès, ou le Poète campagnard (1734). The form of libretto includes the introduction, a duet and three finals… http://en.wikipedia.org/wiki/La_finta…

A link to this wonderful artists Website: http://www.classicalarchives.com/moza…

Mozart – Violin Concerto No. 3 in G, K. 216

Am4d3usM0z4rt

Uploaded on Oct 24, 2011

The Violin Concerto No. 3 in G major, K. 216, was composed by Wolfgang Amadeus Mozart in Salzburg in 1775. Mozart was only 19 at the time. The piece is in three movements:
1. Allegro
2. Adagio
and 3. Rondeau, Allegro.
The Allegro is in sonata form, opening with a brilliant G major theme, played by the orchestra. The main theme is a bright and happy discussion between the solo violin and the accompanist, followed by a modulation to the dominant D major, then its parallel key D minor. It experiments in other keys but does not settle and eventually heads back to the tonic, G major, in the recapitulation with the help of the cadenza.
The second movement is also in ternary form form, and in the dominant key of D major. The orchestra begins by playing the well known and beautiful main theme, which the violin imitates one octave higher. The winds then play a dance-like motif in A major, which the violin concludes by its own. After a conclusion in A, the violin plays the main theme again, remaining in the same key. When it should have sounded A natural, it sounds A sharp, and the melody switches to B minor, in a fairly tragic passage. It soon modulates back to A major, and to the home key of D major through the main theme. After the cadenza, and in a quite unusual thing for Mozart to do, the violin plays the main theme again, thus concluding the movement in D.
The third movement is a Rondeau Allegro, and opens with an orchestra theme which gave the concerto its nickname: “Straßburg”. After a lonely, short passage by the oboes only, the solo violin enters with a different melody which modulates to D. A brilliant and high passage in D is soon followed by a descending arpeggio-like melodic line which eventually leads to the G string and repeats itself. After the second time, the violin plays the lonely oboe line from the introduction. A chromatic scale then leads to the “Straßburg” theme with the violin playing. The orchestra imitates the violin and abruptly changes to B minor and a B minor violin theme: exactly the same theme as in the first violin solo, played in the relative minor key. As the theme itself repeats, it once again abruptly changes to E minor. The small E minor cadenza introduces the orchestra, which once again plays the “Straßburg” theme in G major. After a couple of bars in D major by the orchestra, the music goes from Allegro to an Andante in G minor, almost in the fashion of a scherzo-trio form. The strings play saltando quavers while the violin plays a note-rest small melodic line which repeats itself and eventually leads to a G major Allegretto. The violin plays a crotchet-only playful theme, while the orchestra plays brilliant and fast threesome up-and-down notes, in a way that the solo violin’s part acts as a background only. The parts switch and now the orchestra plays the playful theme, while the violin gets to show off by playing fast notes. The quick passages stop for the violin to play a more ceremonial theme played on the D and A strings, in the fashion of a Musette. This pattern sounds two more times until the violin concludes the fast theme with a low G, and switches to Tempo 1. After a few bars, the first solo theme that the violin played is played as a variation in A minor. The violin plays the “Straßburg” theme in G minor, and the orchestra imitates it in the usual form of G major. After the typical first solo variation, this time in the tonic key. The violin plays another small cadenza which leads to the last “Straßburg” theme played in two octaves. The orchestra plays it one third time in the lower octave. Instead of ending the concerto in a pompous way, Mozart chose to end it instead with the lonely oboe theme in G major played piano, adding the feeling of a musical “disappearing”.

Mozart – Flute Quartet No. 1 in D, K. 285 , great compositions/performances

Mozart – Flute Quartet No. 1 in D, K. 285

Am4d3usM0z4rt

Published on Apr 28, 2012/ views: 22,053

The Flute Quartet No. 1 in D major, K. 285, by Wolfgang Amadeus Mozart for flute, violin, viola, and cello, the first of three quartets for the amateur Ferdinand De Jean, was probably written between 1777 and 1778. It is in three movements :
1. Allegro, common time
2. Adagio, B minor, 3/4
3. Rondeau: [Allegro], 2/4
Ludwig van Beethoven borrowed from the first movement for his Duo for clarinet and bassoon of 1792. The “distinguished Adagio in B minor, [is] a romantic troubadour song which, in the brevity of its thirty-five bars, hints at the future slow movement of the A major piano concerto (K.488).” There are a number of different editions. The edition of G. Schirmer was edited by Louis Moyse, while that for International music was edited by Jean-Pierre Rampal. The piece has also been arranged for flute and guitar.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
and http://imslp.org/wiki/

 

Mozart: The Marriage Of Figaro, K 492 – 1. Overture great compositions

Mozart: The Marriage Of Figaro, K 492 – 1. Overture

Claudine Shim

Uploaded on Sepember 24, 2010

Wolfgang Amadeus Mozart: The Marriage Of Figaro, K 492 – 1. Overture – Alfred Scholz: London Philharmonic Orchestra.

Wolfgang Amadeus Mozart, vollständiger Taufname: Joannes Chrysostomus Wolfgangus Theophilus Mozart (27. Januar 1756 in Salzburg; † 5. Dezember 1791 in Wien), war ein Komponist zur Zeit der Wiener Klassik. Sein umfangreiches Werk geniesst weltweite Popularität und gehört zu den bedeutendsten im Repertoire der klassischen Musik. Er selbst nannte sich meist Wolfgang Amadé Mozart.

Google Translator says:  (and I have no objection whatsoever)

Wolfgang Amadeus Mozart, full baptismal name: Joannes Chrysostom Wolfgangus Theophilus Mozart (27 January 1756 in Salzburg, † 5 December 1791 in Vienna) was a composer at the time of Viennese Classicism. His extensive work enjoys worldwide popularity and is among the most important in the repertoire of classical music. He called himself the most Wolfgang Amadeus Mozart.

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Lucia Popp – Ruhe Sanft, Mein Holdes Leben (Mozart, Zaide)

anes1001

 

Uploaded on Jul 9, 2010/ 117,609 views

Wolfgang Amadeus Mozart (1756-1791)
Zaide, Act 1 : Zaide’ aria
“Ruhe Sanft, Mein Holdes Leben”

Lucia Popp, soprano

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Happy Birthday Mozart Week: Piano Concerto No.8 ‘Lützow’ in C major, (KV 246) , great compositions

Wolfgang Amadeus Mozart: Piano Concerto No.8 ‘Lützow’ in C major, (KV 246)

vivaldi369

 Álbum: Mozart: The Great Piano Concertos Complete
Interpretes del álbum: Derek Han, Pieter-Jan Belder, Paul Freeman & Philharmonia Orchestra
Compositor: Wolfgang Amadeus Mozart
Año: 2006
Genero: Clásico Alemán
Movimientos: Allegro Aperto-Andante-Rondeau: Tempo di Minuetto

From Wikipedia, the free encyclopedia

 

The Piano Concerto No. 8 in C major, K. 246, or Lützow Concert was written by Wolfgang Amadeus Mozart in April of 1776 in the same year as the Haffner Serenade (KV 250).^[1] Countess Antonia Lützow, 25 or 26 years old, second wife of Johann Nepomuk Gottfried Graf Lützow, the Commander of the Hohensalzburg Fortress, was a fine pianist.^[2] The solo work is not highly demanding, but it requires agility. Mozart played the concerto in Mannheim and Munich on October 4, 1777, and used it for teaching. Three different cadenzas have survived varying difficulty, accommodating the abilities of performers from student level to professional: one for two pianos.^[3][4][5]

It is also suggested Mozart wrote a violin concerto for Countess Lützow’s brother Johann Rudolph Czernin (and almost the same age as Mozart).^[6] Johann Rudolf, his sister and their father were in connection with Mozart at that time, while Mozart was in service of their uncle Count Hieronymus von Colloredo.^[7]

The concerto is scored for two oboes, two horns, solo piano and string section.

The concerto, very convenient for beginning performers,^[8] is in three movements:

• I. Allegro aperto.^[9]
• II. Andante
• III. Rondeau. Tempo di Menuetto.^[10]

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Happy Birthday Mozart: Eine kleine Nachtmusik KV 525 Karl Bohm, Wiener Philharmoniker , great compositions/performances

Mozart, Eine kleine Nachtmusik KV 525 Karl Bohm, Wiener Philharmoniker

some oane

From Wikipedia, the free encyclopedia

Eine kleine Nachtmusik (Serenade No. 13 for strings in G major), K. 525, is a 1787 composition for a chamber ensemble by Wolfgang Amadeus Mozart. The German title means “a little serenade,” though it is often rendered more literally but less accurately as “a little night music.”^[1] The work is written for an ensemble of two violins, viola, and cello with optional double bass, but is often performed by string orchestras.^[2

Composition, publication, and reception

The serenade was completed in Vienna on 10 August 1787,^[2] around the time Mozart was working on the second act of his opera Don Giovanni.^[3] It is not known why it was composed.^[4] Hildesheimer (1991, 215), noting that most of Mozart’s serenades were written on commission, suggests that this serenade, too, was a commission, whose origin and first performance were not recorded.

The traditionally used name of the work comes from the entry Mozart made for it in his personal catalog, which begins, “Eine kleine Nacht-Musik.”^[5] As Zaslaw and Cowdery point out, Mozart almost certainly was not giving the piece a special title, but only entering in his records that he had completed a little serenade,^[6] in German, a “Ständchen”.^[7]

The work was not published until about 1827, long after Mozart’s death, by Johann André in Offenbach am Main.^[2] It had been sold to this publisher in 1799 by Mozart’s widow Constanze, part of a large bundle of her husband’s compositions.

Today the serenade is widely performed and recorded; indeed both Jacobson (2003, 38) and Hildesheimer (1992, 215) opine that the serenade is the most popular of all Mozart’s works. Of the music, Hildesheimer writes, “even if we hear it on every street corner, its high quality is undisputed, an occasional piece from a light but happy pen.”^[8]

Movements

The work has four movements:

1. Allegro
2. Romanze: Andante
3. Menuetto: Allegretto
4. Rondo: Allegro

Adaptations

• The opening of the video game Mario Bros. features the start of Eine Kleine Nachtmusik before the start of the game.
• A promo for Looney Tunes on Nickelodeon was sung to Eine Kleine Nachtmusik.

 

Happy Birthday Mozart – Week: Mozart – Piano Sonatas – Classical Music (COMPLETE)

Mozart – Piano Sonatas – Classical Music (COMPLETE)

sadeq Ghanem

SONATAS
1. Sonata in C, K279
2. Sonata in F, K280
3. Sonata in B flat, K281
4. Sonata in E flat, K282
5. Sonata in G, K283
6. Sonata in D, K284 “Durnitz”
7. Sonata in C, K309
8. Sonata in A minor, K310
9. Sonata in D, K311
10. Sonata in C, K330
11. Sonata in A, K331
12. Sonata in F, K332
13. Sonata in B flat, K333
14. Fantasia in C minor, K475
15. Sonata in C minor, K457
16. Sonata in C, K545 “fur Anfanger”
17. Sonata in B flat, K570
18. Sonata in D, K576
19. Sonata in F, K533 & 494

Wolfgang Amadeus Mozart (27 January 1756 — 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era.

Wolfgang Amadeus Mozart, cuyo nombre completo era Johannes Chrysostomus Wolfgangus Theophilus Mozart,1 (Salzburgo, 27 de enero de 1756 – Viena, 5 de diciembre de 1791), fue un compositor y pianista austriaco, maestro del Clasicismo, considerado como uno de los músicos más influyentes y destacados de la historia.

Classical Music: Piano Sonatas – Mozart
Musique classique: Sonates pour piano – Mozart
Música Clásica: Piano Sonatas – Mozart
Klassische Musik: Klaviersonaten – Mozart
Musica classica: Piano Sonatas – Mozart
Música clássica: Sonatas para Piano – Mozart

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Happy Birthday Mozart: Mozart piano sonata # 9 K.311 – DANIEL BARENBOIM , great compositions/perfoemances

DANIEL BARENBOIM ~ Mozart piano sonata # 9 ; K.311 1989

GreatPerformers1

Published on Jan 27, 2014

Daniel Barenboim plays Mozart’s piano sonata # 9 in D major, K.311 with wonderful vigor and delicacy as only he can do. These recordings were made in Germany in 1989 and are part of a full DVD set of all of Mozart’s piano sonatas. The idea of orchestral writing is evident in the K.311 sonata, especially the 3rd movement, because of the contrast in texture and tonal colour.However, it is the 2nd. movement that gives off a distinctly beautiful
sonata movement without a development. Its song-like eleven-bar theme, with a concluding note at the 12th measure, is followed by an episode and a wonderfully varied return of the theme in D major (measure 25) instead of a contrasting second subject. The recapitulation starts in measure 39. One of Mozart’s most memorable piano sonatas.

From Wikipedia, the free encyclopedia

Wolfgang Amadeus Mozart‘s Piano Sonata No. 9 in D major, K. 311 (284c) was written on the composer’s stay in Augsburg and Mannheim in November-December 1777, and is contemporaneous with his Sonata K. 309 (Mozart wrote his Sonata K. 310 in the summer of the following year, in Paris). The three sonatas K. 309-311 were published as a set ‘Opus IV’ in about 1782, by Franz Joseph Heina in Paris.

The work has three movements:

1. Allegro con spirito
2. Andante con espressione
3. Rondeau (allegro)

A typical performance takes about 15 to 17 minutes.

The first movement is in sonata form. Its first subject has a quasi orchestral opening, and its second subject in the dominant key (A major) is quieter. The development section is almost entirely based on the last four bars of the exposition.

The second movement has an episodic structure A-B-A-B-A-coda. The second theme’s melody is gently decorated with syncopation, accompanied by broken chords in the left hand.

Lastly, the most technically demanding movement of the three is a sonata rondo, with a short central episode in F sharp minor (the main key’s relative minor). A slow cadenza-like passage containing a rapid ascending chromatic scale leads back to the first theme.

The piece displays mature thematic development.

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today’s holiday: Mozart Week (Mozartwoche) (2015)

Mozart Week (Mozartwoche) (2015)

Wolfgang Amadeus Mozart was born on January 27, 1756. Every January since 1956, his birthday has been celebrated by the people of Salzburg, Austria, where he was born, with a music festival devoted entirely to his works. The festival also prides itself on presenting many of his lesser known works, which are seldom performed elsewhere. Concerts are given in a number of sites associated with Mozart’s life, including the Mozarteum Building, St. Peter’s Church, the Salzburg Cathedral, and even Mozart’s home. More… Discuss

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today’s birthday: Wolfgang Amadeus Mozart (1756)

Wolfgang Amadeus Mozart (1756)

Mozart is considered one of the greatest composers of European classical music, having written an astonishing number of works in almost every musical genre during his short life. A child prodigy, he began composing music by the age of five and was touring and performing before royalty within a year. He later settled in Vienna, where he reached the height of his success. At the age of 35, he succumbed to an unknown illness that remains a source of speculation. What are some of the theories? More… Discuss

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picture of the day: Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart, regarded by many as the greatest musical genius of all time, was born in Salzburg, Austria, on January 27, 1756, the son of violinist and composer Leopold Mozart. The young Mozart began composing minuets at age 5 and, with his older sister Marianne, gave concerts in Munich and Vienna from age 6. At 13, Mozart became director of concerts for the archbishop of Salzburg and in 1782 he married Constanze Weber against her father’s wishes. Although Mozart gave piano concerts throughout Europe and composed more than 600 works, including 40 symphonies, he and his wife were plagued by debt. When Mozart died in 1791, probably of heart disease, he was buried in an unmarked pauper’s grave. It was not until his works were published, in many cases near the end of the 19th century, that Mozart’s genius became widely recognized.

Image: Library of Congress

– See more at: http://www.historynet.com/picture-of-the-day#sthash.9MD846f9.dpuf

Mozart – Symphony No. 35 in D, K. 385 (Haffner) , great compositions/performances

Mozart – Symphony No. 35 in D, K. 385 (Haffner)

Am4d3usM0z4rt

Uploaded on Feb 23, 2012

Symphony No. 35 in D major, K. 385, was composed by Wolfgang Amadeus Mozart in 1782 and is also called the Haffner Symphony. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of Sigmund Haffner’s ennoblement. The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission from the same family in 1776. The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D and G, 2 trumpets in D, timpani, and strings. Mozart’s choice of key for the Haffner Symphony is an aspect that catches one’s attention. According to Cuyler, “the key of D major, which was so felicitous for the winds, served Mozart more often than any other key, even C, for his symphonies,” including the Paris (No. 31) and Prague (No. 38) symphonies. The key is also indicative of the work’s serenade origins as all of Mozart’s orchestral serenades are scored in D major. Hence, it is not surprising that the Haffner Symphony was written in the key of D major. The symphony is in four movements:
1. Allegro con spirito, 4/4
2. Andante, 2/4
3. Menuetto, 3/4
4. Presto, 2/2.
The Haffner Symphony usually runs somewhere around 20 minutes in length. A recording by George Szell with the Cleveland Orchestra (Sony SBK 46333) runs 19.11; one by Iona Brown with the Academy of St. Martin in the Fields (Haenssler CD 94.003) is 21.09; and one by Sir Neville Marriner also with the same ensemble (Philips 420 486-2) runs 21.34.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
and http://imslp.org/wiki/

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Mozart: Haffner Serenade KV 250 / Slide show: Glamour Girls and other beauties, great compositions/performances

Mozart: Haffner Serenade KV 250 / Slide show: Glamour Girls and other beauties

hollandskgjestehus

Published on May 21, 2012

Wolfgang Amadeus Mozart: Haffner Serenade KV 250 (Symphony)
Karl Böhm & Berliner Philharmoniker

Video shows you glamour girls of the film industry between 1920 and 1980.
Made by Maarten Kroon @ Hollandsk Gjestehus in Vinstra (Norway).
Our guesthouse website: http://www.hollandskgjestehus.com / Tel.: +47 61290045.

Mozart – The Marriage of Figaro Overture (K.492) – Wiener Symphoniker – Fabio Luisi, : great compositions/performances

Mozart – The Marriage of Figaro Overture (K.492) – Wiener Symphoniker – Fabio Luisi (HD)

   kocaonur

*****Mozart – The Marriage of Figaro Ouverture
“Le nozze di Figaro” (K.492)
*****Wiener Symphoniker Japan Tour 2006
*****Conductor : Fabio Luisi

****************************************************

More Mozart Music Here

Mozart / Divertimento in F major, K. 138, : Great compositions/performances

Mozart / Divertimento in F major, K. 138

  scrymgeour34

Published on Mar 12, 2013

Wolfgang Amadeus Mozart (1756-1791)

Divertimento in F major for string quartet, K. 138/125c (1772)

00:00 – Allegro
03:38 – Andante
09:12 – Presto

Academy of St. Martin-in-the-Fields Chamber Ensemble (1984)

“Three early Mozart pieces, K. 137, 137 and 138, are labeled divertimentos on the manuscripts and are so listed in Grove. However, few Mozart scholars accept that tag as an accurate description of the works, and most doubt that the title came from Mozart. For one thing, a divertimento should have two minuets, and these three have none. At first glance they seem to be straightforward string quartets–yet many experts contend that they don’t sound at all like string quartets.

So what are they? Mozart scholar Alfred Einstein fancies them as small symphonies for strings, to which the composer was prepared to add extra parts for winds; they are sometimes known as the ‘Salzburg symphonies.’ Musicologist Hans Keller has given them the curious designation of ‘orchestral quartets.’ Others insist that they are indeed string quartets even if they lack the serious temper of that rarefied form. Yet (to complete the confusion) they are universally referred to as divertimentos–the one thing everyone agrees they are not.

Whatever they’re called, they are fine examples of Mozart’s early essays in chamber music…Mozart composed them in 1772, when he was 16, not long before leaving Salzburg on his third (and, as it turned out, his last) trip to Italy. He was going to Milan to produce the opera ‘Lucio Silla‘ on a commission from Count Firmian, governor-general of that city. He probably expected, from previous experience, to need music to entertain the count’s court while he was at work on the opera. So it seems likely that these three works were composed to meet that need. Mozart may have planned to present them with a small orchestra, as Einstein surmises, but here they are played by the four instruments of a string quartet.

The Divertimento in F, K. 138…is closer than [K. 136 & 137] to being what we now think of as a string quartet. The opening ‘Allegro’ is in the expansive style of the earlier pieces, but then the tone becomes more intimate. In the contemplative ‘Andante’ the first violin spins a melodic thread that ties all four strings into a close-knit, supportive quartet. This intricate ensemble work continues into the ‘Presto’ finale, a rondo that skips purposefully along with robust good humor.” – Harvey B. Loomis

Painting: Festoon of Fruit and Flowers (detail), Jan Davidsz de Heem

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Mozart – Piano Concerto No. 16 in D Major, K. 451 (Vladimir Ashkenazy),: great compositions/performances

Mozart – Piano Concerto No. 16 in D Major, K. 451 (Vladimir Ashkenazy)

  MrPalika123

00:00 – Allegro assai
10:58 – Andante
17:45 – Allegro di molto

***Vladimir Ashkenazy***
***Philharmonia Orchestra***

***1979***

• Music

  • “Piano Concerto No. 16 in D, K.451 : III. Allegro di molto – Cadenza (Mozart) – Tempo I [1988 Remastered Version]” by English Chamber Orchestra/Daniel Barenboim (Google Play • AmazonMP3 • iTunes)

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• Musical Contrast:
• yyyy91: Giuseppe Tartini: Sonata in G minor “The Devil’s Trill”…
• Orpheus Chamber Orchestra and violinist Jennifer Koh thrill audience at Bing

Mozart: Piano concerto n. No. 21 in C major, K.467 Pollini-Muti: great compositions/performances

Mozart: Piano concerto n. No. 21 in C major, K.467 Pollini-Muti

Alessandro152

Mozart:Piano Concerto No. 21 in C major, K. 467

***Orchestra filarmonica della Scala
***Maurizio Pollini
***Riccardo Muti
(2004)
****************************************************************

Piano Concerto No. 21 (Mozart)

From Wikipedia, the free encyclopedia

The Piano Concerto No. 21 in C major, K. 467, was completed on March 9, 1785 by Wolfgang Amadeus Mozart, four weeks after the completion of the previous D minor concerto, K. 466.^[1][2]

Structure

The concerto has three movements:

1. Allegro maestoso; in common time. The tempo marking is in Mozart’s catalog of his own works, but not in the autograph manuscript.^[3]
2. Andante in F major. In both the autograph score and in his personal catalog, Mozart notated the meter as Alla breve. ^[4]
3. Allegro vivace assai

The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass. The march returns, eventually transitioning to the entrance of the soloist. The soloist plays a brief Eingang (a type of abbreviated Cadenza) before resolving to a trill on the dominant G while the strings play the march in C major. The piano then introduces new material in C major and begins transitioning to the dominant key of G major. Immediately after an orchestral cadence finally announces the arrival of the dominant, the music abruptly shifts to G minor in a passage that is reminiscent of the main theme of the Symphony No. 40 in that key.^[5] A series of rising and falling chromatic scales then transition the music to the true second theme of the piece, an ebullient G major theme which Mozart had previously used in his Third Horn Concerto. The usual development and recapitulation follow. There is a cadenza at the end of the movement, although Mozart’s original has been lost.

The famous Andante is in three parts. The opening section is for orchestra only and features muted strings. The first violins play with a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. All of the major melodic material of the movement is contained in this orchestral introduction, in either F major or F minor. The second section introduces the solo piano and starts off in F major. It is not a literal repeat, though, as after the first few phrases, new material is interjected which ventures off into different keys. When familiar material returns, the music is now in the dominant keys of C minor and C major. More new material in distant keys is added, which transitions to the third section of the movement. The third section begins with the dreamlike melody again, but this time in A-flat major. Over the course of this final section, the music makes it way back to the tonic keys of F minor and then F major and a short coda concludes the movement.

The final rondo movement begins with the full orchestra espousing a joyous “jumping” theme. After a short cadenza, the piano joins in and further elaborates. A “call and response” style is apparent, with the piano and ensemble exchanging parts fluidly. The soloist gets scale and arpeggio figurations that enhance the themes, as well as a short cadenza that leads right back to the main theme. The main theme appears one final time, leading to an upward rush of scales that ends on a triumphant note.

Recordings

This work has been recorded numerous times by many famous pianists including Géza Anda, Piotr Anderszewski, Vladimir Ashkenazy, Daniel Barenboim, Malcolm Bilson, Alfred Brendel, Robert Casadesus, Ivan Drenikov, Annie Fischer, Walter Gieseking, Friedrich Gulda, Stephen Hough, Keith Jarrett, Wilhelm Kempff, Walter Klien, Alicia de Larrocha, Giorgi Latsabidze, Rosina Lhevinne, Dinu Lipatti, Radu Lupu, Murray Perahia, Maria João Pires, Maurizio Pollini, Arthur Rubinstein, Fazil Say, András Schiff, Artur Schnabel, Rudolf Serkin, Howard Shelley, Mitsuko Uchida, and Christian Zacharias.

Cultural references

The second movement was featured in the 1967 Swedish film Elvira Madigan.^[1][6] This has led to an anachronistic nickname of Elvira Madigan for the concerto.^[7][8][9]

Neil Diamond’s 1972 song “Song Sung Blue” was based on a theme from the andante movement of the concerto.^[10]

An electronic arrangement of the concerto’s first movement was used as the main theme of the TV series Whiz Kids.

Related articles

• Mozart – Symphony No. 39 in E flat, K. 543: make music part of your life series

W. A. Mozart – KV 385 – 1782 Version – Symphony No. 35 in D major “Haffner”: make music part of your life series

W. A. Mozart – KV 385 – 1782 Version – Symphony No. 35 in D major “Haffner”

ComposersbyNumbers

Published on Aug 11, 2013

The symphony is set in 4 movements:
1. Allegro con spirito (0:00)
2. Andante (5:26)
3. Menuetto (14:00)
4. Presto (17:43)

Performers: The Academy of Ancient Music, conducted by Christopher Hogwood.

Symphony No. 35 in D major, K. 385, was composed by Wolfgang Amadeus Mozart in 1782 and is also called the Haffner Symphony. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of Sigmund Haffner’s ennoblement. The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission from the same family in 1776. The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D and G, 2 trumpets in D, timpani, and strings. Mozart’s choice of key for the Haffner Symphony is an aspect that catches one’s attention. According to Cuyler, “the key of D major, which was so felicitous for the winds, served Mozart more often than any other key, even C, for his symphonies,” including the Paris (No. 31) and Prague (No. 38) symphonies. The key is also indicative of the work’s serenade origins as all of Mozart’s orchestral serenades are scored in D major. Hence, it is not surprising that the Haffner Symphony was written in the key of D major.
The symphony is in four movements:
1. Allegro con spirito, 4/4
2. Andante, 2/4
3. Menuetto, 3/4
4. Presto, 2/2.
The Haffner Symphony usually runs somewhere around 20 minutes in length. A recording by George Szell with the Cleveland Orchestra (Sony SBK 46333) runs 19.11; one by Iona Brown with the Academy of St. Martin in the Fields (Haenssler CD 94.003) is 21.09; and one by Sir Neville Marriner also with the same ensemble (Philips 420 486-2) runs 21.34.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
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Related articles

• Mozart – Symphony No. 39 in E flat, K. 543: make music part of your life series
• Mozart Symphony No 25 G minor K 183 Karl Böhm Wiener Philamoniker|great compositions/performances

Mozart – Symphony No. 39 in E flat, K. 543: make music part of your life series

Mozart – Symphony No. 39 in E flat, K. 543

Am4d3usM0z4rt

Family portrait: Maria Anna (“Nannerl”) Mozart, her brother Wolfgang, their mother Anna Maria (medallion) and father, Leopold Mozart (Photo credit: Wikipedia)

The Symphony No. 39 in E-flat major of Wolfgang Amadeus Mozart, K. 543, was completed on 26 June 1788. The 39th Symphony is the first of a set of three (his last symphonies) that Mozart composed in rapid succession during the summer of 1788. No. 40 was completed 25 July and No. 41 on 10 August. Around the same time, Mozart was writing his piano trios in E and C major, his sonate facile, and a violin sonatina. Mozart biographer Alfred Einstein has suggested that Mozart took Michael Haydn‘s Symphony No. 26, in the same key, as a model. It seems to be impossible to determine the date of the premiere of the 39th Symphony on the basis of currently available evidence; in fact, it cannot be established whether the symphony was ever performed in the composer’s lifetime. According to Deutsch (1965), around the time Mozart wrote the work, he was preparing to hold a series of “Concerts in the Casino”, in a new casino in the Spiegelgasse owned by Philipp Otto. Mozart even sent a pair of tickets for this series to his friend Michael von Puchberg. But it seems impossible to determine whether the concert series was held, or was cancelled for lack of interest. In addition, in the period up to the end of his life, Mozart participated in various other concerts whose program included an unidentified symphony; these also could have been the occasion of the premiere of the 39th. In modern times, the work is part of the core symphonic repertoire and is frequently performed and recorded. The symphony is scored for flute, pairs of clarinets, bassoons, horns and trumpets, timpani and strings. There are four movements:
1. Adagio, cut time — Allegro, 3/4
2. Andante con moto, 2/4
3. Menuetto: Trio, 3/4
4. Allegro, 2/4.
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
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ALSO check out these cool sites: http://musopen.org/
and http://imslp.org/wiki/

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Mozart: Violin Sonata in G, K. 379 (Schneider & Kirkpatrick, 1945): great compositions/performances

Mozart: Violin Sonata in G, K. 379 (Schneider & Kirkpatrick, 1945)

shellackophile

Published on Nov 8, 2012

Mozart: Sonata in G Major, K. 379
Alexander Schneider (violin)
Ralph Kirkpatrick (harpsichord)

Recorded on November 28, 1945, in New York City, on Columbia matrices XCO 35472 through XCO 35475. Issued in 1947 on Columbia 71864-D and 71865-D in Masterworks Set M-650, and in automatic sequence on Columbia 71866-D through 71869-D in Set MM-650. The same set has two other Mozart violin sonatas (K. 296, K. 378), which I have uploaded separately.

Mozart’s Sonata in G Major, K. 379, consists of three movements:

1. Adagio
2. Allegro (at 3:43)
3. Theme and Variations: Andantino cantabile (at 7:32)

The substitution of a harpsichord for the usual piano in this work was and is somewhat controversial, but seems to have been intended as a compromise, as fortepianos (the term that has come to be used for replicas of pianos of Mozart’s time) hadn’t come into general use by the 1940s. It didn’t work for contemporary music critic Irving Kolodin, who, in his “New Guide to Recorded Music” (1950), calls the harpsichord substitution “a mere excuse to conceal the obvious fact that Schneider and Kirkpatrick like to play together and have devoted themselves mainly to Bach, in which the harpsichord is, largely speaking, acceptable.”

To download a higher-quality audio file of this recording, please visit my blog, The Shellackophile – http://shellackophile.blogspot.com – where this and many other vintage recordings may be downloaded.

Mitsuko Uchida – W.A. Mozart Piano Concerto No.9 in E flat Major K. 271 “Jeunehomme”: great compositions/performances

Mitsuko Uchida – W.A. Mozart Piano Concerto No.9 in E flat Major K. 271 “Jeunehomme”

fairlytaleofnewyork

Published on Jul 16, 2013

W.A. Mozart
Piano Concerto No.9 in E flat Major K. 271
“Jeunehomme”
Mitsuko Uchida – Piano
Jeffrey Tate – Conductor

Dame Mitsuko Uchida DBE (内田光子), born December 20, 1948, is a Japanese naturalized-British classical pianist generally regarded as one of the finest of her era. She has appeared with most of the world’s foremost orchestras, recorded a wide repertory with major labels, won numerous awards and honors (including Dame Commander of the Order of the British Empire in 2009), and serves as co-director of the Marlboro Music School and Festival. In recent years, she has also conducted major orchestras.

Born in Atami, a seaside town close to Tokyo, Japan, Uchida moved to Vienna, Austria, with her diplomat parents when she was 12 years old, after her father was named the Japanese ambassador to Austria. She enrolled at the Vienna Academy of Music to study with Richard Hauser, and later Wilhelm Kempff and Stefan Askenase, and remained in Vienna to study when her father was transferred back to Japan after five years. She gave her first Viennese recital at the age of 14 at the Vienna Musikverein. She also studied with Maria Curcio, the last and favourite pupil of Artur Schnabel.

In 1969 she won the first prize in the Beethoven Competition in Vienna and in 1970 the second prize in the International Chopin Piano Competition. In 1975, she won second prize in the Leeds Piano Competition.

In 1998 Uchida was the Music Director of the Ojai Music Festival in conjunction with conductor and violinist, David Zinman.

She is an acclaimed interpreter of the works of Mozart, Beethoven, Schubert, Chopin, Debussy and Schoenberg. She has recorded all of Mozart’s piano sonatas (a project that won the Gramophone Award), and concerti, the latter with the English Chamber Orchestra, conducted by Jeffrey Tate. Her recording of the Schoenberg Piano Concerto with Pierre Boulez won another Gramophone Award. She is further noted for her recordings of Beethoven’s complete piano concerti with Kurt Sanderling conducting, Beethoven’s late piano sonatas, and a Schubert piano cycle. She is distinguished as an interpreter of the works of the Second Viennese School. Her 2009 recording of the Mozart Piano Concertos nos. 23 and 24, in which she conducted the Cleveland Orchestra as well as playing the solo part, won the Grammy Award.

From 2002 to 2007 she served as artist-in-residence for the Cleveland Orchestra, where she led performances of all of Mozart’s solo piano concertos. She has also conducted the English Chamber Orchestra, among others, from the keyboard. In 2010, she was artist-in-residence for the Berlin Philharmonic. She is one two Artistic Directors of the Marlboro Music School and Festival, along with fellow pianist Richard Goode. She is also a trustee of the Borletti-Buitoni Trust, an organization established to help young artists develop and sustain international careers.[5] In May 2012, the Royal Philharmonic Society announced that she would be honored with their Gold Medal (she received the society’s annual Music Award in 2003); previous recipients have included Johannes Brahms (1877), Frederick Delius and Sir Edward Elgar (1925), Richard Strauss (1936), Igor Stravinsky (1954), Benjamin Britten and Leonard Bernstein (1987).

Uchida currently resides in London. Her long-standing partner, Sir Robert Cooper, currently works for the European Union in Brussels.

Hahn – Mozart – Violin Concerto No. 4 in D, K 218: great compositions/performances

Mozart – Violin Concerto No.4 in D, K 218

MyViolinVideos

Wolfgang Amadeus Mozart – Violin Concerto No. 4 in D major, K. 218
I. Allegro (00:00)
II. Andante cantabile (09:24)
III. Rondeau (Andante grazioso – Allegro ma non troppo) (17:17)

***Hilary Hahn, violin
***BBC Symphony Orchestra
***Andrew Davis, conductor

Debussy, Printemps: Suite Symphonique. Pierre Boulez, great compositions/performances

Debussy, Printemps: Suite Symphonique. Pierre Boulez

  Pakito Palote

Debussy,
Printemps: Suite Symphonique
1. Tres Modere
2. Modere
Pierre Boulez

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Mozart Symphony No 25 G minor K 183 Karl Böhm Wiener Philamoniker|great compositions/performances

Mozart Symphony No 25 G minor K 183 Karl Böhm Wiener Philamoniker

La Casa di Davide

Mozart Symphony No 25 G minor K 183 Karl Bohm Wiener Philarmoniker

1.Allegro con brio in G minor 0:30
2.Andante in E-flat major 8:43
3.Menuetto & Trio in G minor, Trio in G major 12:05
4.Allegro in G minor 15:58

********************************************************************

From Wikipedia, the free encyclopedia

The Symphony No. 25 in G minor, K. 183/173dB, was written by the then 17 year-old Wolfgang Amadeus Mozart in October 1773,^[1] shortly after the success of his opera seria Lucio Silla. It was supposedly completed in Salzburg on October 5, a mere two days after the completion of his Symphony No. 24, although this remains unsubstantiated. Its first movement is widely known as the opening music in Miloš Forman‘s film Amadeus.

This is one of two symphonies Mozart composed in G minor, sometimes referred to as the “little G minor”. (The other is the Symphony No. 40; see also Mozart and G minor.)

1. Allegro con brio, 4/4 in G minor
2. Andante, 2/4 in E-flat major
3. Menuetto & Trio, 3/4 in G minor, Trio in G major
4. Allegro, 4 /4 in G minor

Style and influence

With its wide-leap melodic lines and syncopation, this symphony is characteristic of the Sturm und Drang style. It shares certain features with other Sturm und Drang symphonies of this time, and is likely inspired by Joseph Haydn‘s Symphony No. 39 which is likewise in G minor.^[2]

Performance history

The work was first performed in the United States by the Boston Symphony Orchestra on October 27, 1899, under the direction of Wilhelm Gericke. It was not performed again in the U.S. until 1937, when rendered by the Alfred Wallenstein Sinfonietta. John Barbirolli and the New York Philharmonic performed it again in 1941 as part of their centennial season.^[3]

 

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• Mendelssohn-Piano Concerto No. 1 in g minor Op. 25, Rudolf Serkin/Philadelphia Orchestra- Eugene Ormandy: great compositions/perfornmances

Mozart – La Clemenza di Tito, K.621, Overture|The London Philharmonic conducted by Andrew Davis|great composions/performances

La Clemenza di Tito, K.621, Overture

   Amadeus Mozart

The London Philharmonic conducted by Andrew Davis:
La Clemenza di Tito (The Clemency of Titus), K.621 is an opera seria composed by Wolfgang Amadeus Mozart, with text after Metastasio. It was in fact, his very last opera, having been started after the bulk of Die Zauberflöte was already written (though Mozart did not complete Die Zauberflöte until his return to Vienna after the Prague premiere of Tito).
In July 1791, the last year of his life, Mozart was already well advanced
in writing The Magic Flute when he was asked to compose an opera seria.

The commission came from the impresario Domenico Guardasoni, who lived in Prague and who had been charged with providing a new work to mark the coronation of Leopold II, Holy Roman Emperor as King of Bohemia. The Ceremony would take place on September 6; Guardasoni had been approached about the opera in June. There was not much room to manoeuvre.

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• Mozart on Civility and Civil Rights
• The Premiere of The Magic Flute
• Mozart – Symphony No. 1 In E-flat Major, K.16

Mozart Flute Concerto No 1 in G – Jean-Pierre Rampal, Sydney Symphony Orchestra: make music part of your life series

Mozart Flute Concerto No 1 in G – Jean-Pierre Rampal, Sydney Symphony Orchestra

  oligarck

Sydney Opera House Concert Hall, June, 1987,
John Hopkins, conductor
orchestra principals:
Donald Hazelwood, concertmaster;
Derek Jones, flute;
Lee Bracegirdle horn;
Kathy martin, oboe
*****************************************************

From Wikipedia, the free encyclopedia

The Flute Concerto No. 1 in G major (K. 313) was written in 1778 by Wolfgang Amadeus Mozart. Commissioned by the Dutch flautist Ferdinand De Jean in 1777, Mozart was supposed to provide four flute quartets and three flute concerti, yet he only completed two of the three concerti: K. 313 being the first.^[1] The Andante for Flute and Orchestra K. 315 may have been written as an alternative slow movement for this concerto.

The piece is scored for a standard set of orchestral strings, two oboes (which are replaced with two flutes in the Adagio movement), and two horns.^[2]

The piece itself is divided into three movements:

• I. Allegro maestoso
• II. Adagio ma non troppo
• III. Rondo: Tempo di Menuetto

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ENJOY!
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Mozart – Piano Sonata No. 11 in A, K. 331 (Alla Turca): make music part of your life series

Mozart – Piano Sonata No. 11 in A, K. 331 (Alla Turca)

      Am4d3usM0z4rt
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Wolfgang Amadeus Mozart‘s Piano Sonata No. 11 in A major, K 331 (300i) is a sonata in three movements:

1. Andante grazioso — a theme with six variations
2. Menuetto — a minuet and trio
3. Alla Turca: Allegretto in A minor and major.

All of the movements are in the key of A major or A minor; therefore, the work is homotonal. A typical performance of this entire sonata takes about 20 minutes. It is uncertain where and when Mozart composed the sonata; however, Vienna or Salzburg around 1783 is currently thought to be most likely (Paris and dates as far back as 1778 have also been suggested).

The last movement, Alla Turca, popularly known as the Turkish Rondo or Turkish March, is often heard on its own and is one of Mozart’s best-known piano pieces. It imitates the sound of Turkish Janissary bands, the music of which was much in vogue at that time. Various other works of the time imitate this music, including Mozart’s own opera The Abduction from the Seraglio. For more on this style of work, see Turkish music (style)

In Mozart’s time, the last movement was sometimes performed on pianos built with a “Turkish stop”, allowing it to be embellished with extra percussion effects; see Fortepiano.
Moreover, this third movement is implicitly related to the first one, because the beginning of the “Rondo” can be seen as an additional variation of the “Tema” of the first movement, varied in the Janissary style. The theme of the first movement was used by Max Reger in one of his best known works, the Variations and Fugue on a Theme by Mozart (1914) for orchestra.

Contrary to popular assumption, Dave Brubeck did not base the melody or harmony of his Blue Rondo à la Turk on those of the Turkish Rondo. During a 2003 interview, Brubeck commented that he “should’ve just called [his composition] ‘Blue Rondo’, because the title just seemed to confuse people.”
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FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
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Mozart, Overture The Abduction from the Seraglio (K.384), Wiener Symphoniker, Fabio Luisi conducting, make music part of your life series

Mozart – Overture The Abduction from the Seraglio (K.384) – Wiener Symphoniker – Fabio Luisi (HD)

kocaonur

Mozart – The Abduction From The Seraglio Overture
“Die Entführung aus dem Serail“
Wiener Symphoniker Japan Tour 2006
Conductor : Fabio Luisi

Amadeus Mozart, Così fan tutte, K.588, Overture|John Eliot Gardiner conducting The English Baroque Soloists ,great compositions/performances

Così fan tutte, K.588, Overture

Amadeus Mozart

John Eliot Gardiner conducting The English Baroque Soloists:

Così fan tutte, ossia La scuola degli amanti (Thus Do They All, or The School For Lovers) K. 588, is an opera buffa by Wolfgang Amadeus Mozart. The libretto was written by Lorenzo da Ponte.

Così fan tutte (often shortened to Così in the English-speaking world) is one of the three Mozart operas for which da Ponte wrote the libretto. The other two da Ponte-Mozart collaborations were Le nozze di Figaro and Don Giovanni.

Così was written and composed at the suggestion of the Emperor Joseph II. The libretto was originally intended to be set to music by Mozart’s contemporary Antonio Salieri but Salieri only completed parts of the first act and then broke off work on the opera.

The title, Così fan tutte, literally means “Thus do all [women]” but it is often translated as “Women are like that”.
The first performance of Mozart’s setting took place at the Burgtheater in Vienna on January 26, 1790.

Synopsis
Mozart and Da Ponte took as a theme “fiancée swapping” which dates back to the 13th century, with notable earlier versions being those of Boccaccio’s Decameron and Shakespeare’s play Cymbeline. Elements from Shakespeare’s The Taming of the Shrew are also present. Furthermore, it incorporates elements of the myth of Procris as found in Ovid’s Metamorphoses, vii.

The two officers Ferrando and Guilelmo are in a coffehouse raving about their brides, the two sisters Dorabella and Fiordiligi. Their skeptical friend Don Alfonso, as old philosopher, expresses his doubt concerning the women’s fidelity, immediately provoking such indignation on the part of the young men that they challenge him to a duel.

Mozart: Symphony ‘Jupiter’ No.41 in C major, K 551 (Jaap Ter Linden & Mozart Akademie Amsterdam): great compositions/performances

Johanes Wolfgang Amadeus Mozart: Symphony ‘Jupiter’ No.41 in C major, (K 551)

vivaldi369

Álbum: Mozart, Complete Works Vol. 1: Symphonies Complete
Interprete del álbum: Jaap Ter Linden & Mozart Akademie Amsterdam
Compositor: Johanes Chrysostomus Wolfgang Amadeus Mozart
Año: 2002
*********************************************************************

From Wikipedia, the free encyclopedia

 

Wolfgang Amadeus Mozart’s compositions characterized music of the classical era. (Photo credit: Wikipedia)

Wolfgang Amadeus Mozart completed his Symphony No. 41 in C major, K. 551, on 10 August 1788.^[1] It was the last symphony that he composed, and also the longest.

The work is nicknamed the Jupiter Symphony. This name stems not from Mozart but rather was likely coined by the impresario Johann Peter Salomon^[2] in an early arrangement for piano.

Instrumentation

The symphony is scored for flute, two oboes, two bassoons, two horns in C, two trumpets in C, timpani in C and G, and strings.

Composition and premiere

The 41st Symphony is the last of a set of three that Mozart composed in rapid succession during the summer of 1788. The 39th was completed on 26 June and the 40th on 25 July.^[1] Nikolaus Harnoncourt argues that Mozart composed the three symphonies as a unified work, pointing, among other things, to the fact that the Symphony No. 41, as the final work, has no introduction (unlike No. 39) but has a grand finale.^[3]

Around the same time as he composed the three symphonies, Mozart was writing his piano trios in E and C major, his Sonata facile, and a violin sonatina.

It is not known whether the 41st Symphony was ever performed in the composer’s lifetime. According to Otto Erich Deutsch, around this time Mozart was preparing to hold a series of “Concerts in the Casino” in a new casino in the Spiegelgasse owned by Philipp Otto. Mozart even sent a pair of tickets for this series to his friend Michael Puchberg. But it seems impossible to determine whether the concert series was held, or was cancelled for lack of interest.^[1]

Movements

The four movements are arranged in the traditional symphonic form of the Classical era:

1. Allegro vivace, 4/4
2. Andante cantabile, 3/4 in F major
3. Menuetto: Allegretto – Trio, 3/4
4. Molto allegro, 2/2

The symphony typically has a duration of about 33 minutes.

The sonata form first movement’s main theme begins with contrasting motifs: a threefold tutti outburst on the fundamental tone (respectively, by an ascending motion leading in a triplet from the dominant tone underneath to the fundamental one), followed by a more lyrical response.

 

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Mozart – Violin Concerto No. 3 in G, K. 216: make music part of your life series

Mozart – Violin Concerto No. 3 in G, K. 216

Am4d3usM0z4rt

The Violin Concerto No. 3 in G major, K. 216, was composed by Wolfgang Amadeus Mozart in Salzburg in 1775. Mozart was only 19 at the time. The piece is in three movements:
1. Allegro
2. Adagio

3. Rondeau, Allegro.
The Allegro is in sonata form, opening with a brilliant G major theme, played by the orchestra. The main theme is a bright and happy discussion between the solo violin and the accompanist, followed by a modulation to the dominant D major, then its parallel key D minor. It experiments in other keys but does not settle and eventually heads back to the tonic, G major, in the recapitulation with the help of the cadenza.
The second movement is also in ternary form form, and in the dominant key of D major. The orchestra begins by playing the well known and beautiful main theme, which the violin imitates one octave higher. The winds then play a dance-like motif in A major, which the violin concludes by its own. After a conclusion in A, the violin plays the main theme again, remaining in the same key. When it should have sounded A natural, it sounds A sharp, and the melody switches to B minor, in a fairly tragic passage. It soon modulates back to A major, and to the home key of D major through the main theme. After the cadenza, and in a quite unusual thing for Mozart to do, the violin plays the main theme again, thus concluding the movement in D.
The third movement is a Rondeau Allegro, and opens with an orchestra theme which gave the concerto its nickname: “Straßburg“. After a lonely, short passage by the oboes only, the solo violin enters with a different melody which modulates to D. A brilliant and high passage in D is soon followed by a descending arpeggio-like melodic line which eventually leads to the G string and repeats itself. After the second time, the violin plays the lonely oboe line from the introduction. A chromatic scale then leads to the “Straßburg” theme with the violin playing. The orchestra imitates the violin and abruptly changes to B minor and a B minor violin theme: exactly the same theme as in the first violin solo, played in the relative minor key. As the theme itself repeats, it once again abruptly changes to E minor. The small E minor cadenza introduces the orchestra, which once again plays the “Straßburg” theme in G major. After a couple of bars in D major by the orchestra, the music goes from Allegro to an Andante in G minor, almost in the fashion of a scherzo-trio form. The strings play saltando quavers while the violin plays a note-rest small melodic line which repeats itself and eventually leads to a G major Allegretto. The violin plays a crotchet-only playful theme, while the orchestra plays brilliant and fast threesome up-and-down notes, in a way that the solo violin’s part acts as a background only. The parts switch and now the orchestra plays the playful theme, while the violin gets to show off by playing fast notes. The quick passages stop for the violin to play a more ceremonial theme played on the D and A strings, in the fashion of a Musette. This pattern sounds two more times until the violin concludes the fast theme with a low G, and switches to Tempo 1. After a few bars, the first solo theme that the violin played is played as a variation in A minor. The violin plays the “Straßburg” theme in G minor, and the orchestra imitates it in the usual form of G major. After the typical first solo variation, this time in the tonic key. The violin plays another small cadenza which leads to the last “Straßburg” theme played in two octaves. The orchestra plays it one third time in the lower octave. Instead of ending the concerto in a pompous way, Mozart chose to end it instead with the lonely oboe theme in G major played piano, adding the feeling of a musical “disappearing”.
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FREE sheet music scores of any Mozart piece at: http://dme.mozarteum.at/DME/nma/start…
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