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3 CD -
82876 58706 2 - (p) 2004
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| Wolfgang
Amadeus Mozart (1756-1791) |
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| Early Symphonies -
Music & Letters |
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| "...Mein herz
ist völig entzücket..." |
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0' 22" |
CD1-1
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| Sinfonia
in E flat, KV 16 |
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13' 41" |
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| - Molto allegro |
7' 11" |
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CD1-2
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| - Andante |
5' 09" |
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CD1-3
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| - Presto |
1' 21" |
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CD1-4
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| "...wie
kostbar die Zeit für die Jugend ist..." |
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0' 28" |
CD1-5
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| Sinfonia in D, KV 19 |
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9' 08" |
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| - Allegro |
2' 30" |
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CD1-6
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| - Andante |
3' 49" |
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CD1-7
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- Presto
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2' 49" |
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CD1-8
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"...Das heist
auf der Schneckenpost gereiset!..."
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0' 57" |
CD1-9
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| Sinfonia in F, KV 19a
(=Anh. 223) |
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12' 38" |
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| - Allegro assai |
5' 55" |
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CD1-10
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| - Andante |
4' 38" |
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CD1-11
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| - Presto |
2' 15" |
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CD1-12
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"...Meine Kinder
haben hanz Schwetzingen in Bewegung
gesetset..."
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0' 59" |
CD1-13
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| Sinfonia in B flat, KV
22 |
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6' 07" |
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- Allegro
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2' 48" |
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CD1-14
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| - Andante |
2' 10" |
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CD1-15
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| - Allegro molto |
1' 09" |
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CD1-16
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| "...bei Erblickung
meiner Kinder stille gehalten..." |
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1' 13" |
CD1-17
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| Sinfonia in G, KV 45a
(=Anh. 221) 'Lambach' |
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14' 31" |
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- Allegro maestoso
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5' 30" |
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CD1-18
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| - Andante |
6' 45" |
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CD1-19
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| - Presto |
2' 16" |
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CD1-20
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| "...Wir sind, gott
Lob, glücklich über den
Maxlaner=Bach gekommen..." |
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1' 12" |
CD1-21
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| Sinfonia in F, KV 43 |
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18' 24" |
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- Allegro
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6' 23" |
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CD1-22
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| - Andante |
5' 58" |
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CD1-23
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| - Menuetto & Trio |
2' 15" |
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CD1-24
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- Allegro
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3' 48" |
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CD1-25
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| Sinfonia in D, KV 45
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11' 11" |
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| - Allegro |
2' 37" |
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CD2-1
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| - Andante |
2' 08" |
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CD2-2
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| - Menuetto & Trio |
3' 51" |
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CD2-3
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- Molto allegro
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2' 35" |
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CD2-4
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| "...Te Deum
Laudamus!..." |
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1' 51" |
CD2-5
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| Sinfonia in F, KV 42a
(=76) |
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14' 24" |
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- Allegro maestoso
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4' 53" |
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CD2-6
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| - Andante |
3' 04" |
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CD2-7
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| - Menuetto & Trio |
3' 15" |
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CD2-8
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| - Allegro |
3' 12" |
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CD2-9
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| "...Ich erfuhr,
dass alle Clavieristen und
Componisten in Wienn..." |
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1' 38" |
CD2-10
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| Sinfonia in B flat, KV
45b (=Anh. 214) |
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12' 42" |
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| - Allegro |
2' 16" |
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CD2-11
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| - Andante |
3' 31" |
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CD2-12
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| - Menuetto & Trio |
3' 07" |
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CD2-13
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| - Allegro |
3' 48" |
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CD2-14
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| "...was die Rettung
der Ehre meines Kindes
erheischet..." |
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1' 01" |
CD2-15
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| Sinfonia in D, KV 48 |
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14' 30" |
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| - Allegro |
4' 40" |
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CD2-16
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| - Andante |
2' 25" |
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CD2-17
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| - Menuetto & Trio |
4' 06" |
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CD2-18
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- Molto allegro
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3' 19" |
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CD2-19
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| "...Freundin! Ich
bitte um Verzeihung..." |
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0' 42" |
CD2-20
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| Sinfonia in C, KV
73/75a |
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11' 49" |
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| - Allegro |
3' 24" |
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CD2-21
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| - Andante |
3' 59" |
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CD2-22
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| - Menuetto & Trio |
2' 36" |
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CD2-23
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| - Molto allegro |
1' 50" |
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CD2-24
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Briefe -
Letters - Lettres
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- Erste Reisen
- 16. Oktober 1762 - 13. Juli 1763 (NH
& LH)
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8' 30" |
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CD3-1
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- Reisen durch
Deutschland - 19. Juli 1763
- 4. November 1763 (NH)
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5' 10" |
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CD3-2
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- Erste Reise nach Paris
- 8. Dezember 1763 - 1. Februar 1764 (NH
& LH)
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4' 42" |
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CD3-3
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- Reisen nach London
- 23. April 1764 - 10. November 1766 (NH
& LH)
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8' 18" |
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CD3-4
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- München -
10. Novembre 1766 (NH)
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2' 10" |
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CD3-5
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- Öllmütz -
10. November 1767 (NH & LH)
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5' 07" |
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CD3-6
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- Wien - 30.
Junuar 1768 - 14. September 1768 (NH)
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8' 59" |
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CD3-7
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- Erster Brief
- W.A. Mozart an ein unbekanntes Mädchen
Salzburg, 1769 (?) (MH)
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1' 08" |
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CD3-8
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- Erste Italienreise
- Leopold und W.A. Mozart, Ausschnitte aus
Briefen: 14. Dezember 1769 - 26. Januar
1770 (MH & NH)
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5' 25" |
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CD3-9
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- Mailand -
Leopold und W.A. Mozart, Ausschnitte aus
Briefe: 10. Febraur 1770 - 27. März 1770
(NH & MH)
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5' 05" |
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CD3-10
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- Erste Romreise
- Leopold und W.A. Mozart, Ausschnitte aus
Briefe: 14. April - 19. Mai 1770 (NH &
MH)
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5' 16" |
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CD3-11
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- Neapel -
Leopold und W.A. Mozart, Ausschnitte aus
Briefe: 26. Mai 1770 - 16 Juni 1770 (NH
& MH)
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2' 56" |
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CD3-12
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- Zweiter Romaufenthalt
- Leopold und W.A. Mozart, Ausschnitte aus
Briefe: 4. Juli 1770 - 21 August 1770 (NH
& MH)
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4' 27" |
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CD3-13
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- Mailand II
- Leopold und W.A. Mozart, Ausschnitte aus
Briefe: 20. Oktober 1770 - 18. August 1771
(NH & MH)
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6' 28" |
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CD3-14
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- Mailand III
- Leopold und W.A. Mozart, Ausschnitte aus
Briefe: 24. August 1771 - 18. Dezember
1772 (NH & MH)
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6' 07" |
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CD3-15
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Nikolaus
Harnoncourt,
Sprecher (Leopold)
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Maximilian
Harnoncourt,
Sprecher
(Wolfgang)
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Laya Harnoncourt,
Sprecher (Nannerl)
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| Concentus
Musicus Wien |
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Nikolaus
Harnoncourt
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Luogo
e data di registrazione
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Casino Zögernitz, Vienna (Austria) -
dicembre 1999 e dicembre 2000 (music)
- St. Georgen, (Austria) - 7-8 novembre
2003 & 13 aprile 2004 (letture) |
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Registrazione
live / studio
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| studio |
Producer
/ Engineer
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| Christian
Leins / Tobias Lehmann / Helmut Mühle /
Michael Brammann / Teldex Studio Berlin |
Prima Edizione CD
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| Deutsche
Harmonia Mundi - 82876 58706 2 - (3 cd)
- 80' 00" + 70' 02" + 79' 56" - (p) 2004
- DDD |
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Prima
Edizione LP
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Note
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| Idea
& Concept: Alice Harnoncourt, Dr.
Franz Harnoncourt, Christian Leins. |
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| Mozart's Early
Symphonies |
When
we recorded Mozart’s earliest
syrnphonies (and then performed them in
concert), we were simply astounded -
flabbergasted, in fact. Are these really
the works of a child aged between 8 and
12?! It is certainly not hard to
understand that Mozart’s father Leopold
soon abandoned composition himself faced
with this incredible level of
inspiration and technical mastery. In
these first works, the young Mozart
already towers head and shoulders above
nearly every contemporary in terms of
originality and imagination. We hear a
joke coupled with ‘wisdom’, as if he
were already in a position to draw on
his own experience of life.
Mozart already surprises the listener
with his harmonic audacity in Symphony
no. 1, K. 16, where the motif later to
assume such importance in the finale of
the Jupiter Symphony makes a
brief first appearance in the second
movement. And in the realm of rhythm,
too, the child genius is already
beginning to build up and test his
vocabulary, stacking triplets, double
figures, after-notes, dottings and
legato phrases on top of one another. He
seems to take particular delight in the
hunting finales in 3/8 and 6/8 time, and
the listener in turn cannot help but
enioy following his imaginative pictures
of the showy chase, the frightened prey
on the run, the huntsman’s triumph and
goodness knows what else. In these
works, some of which were written while
the Mozart children were ‘on tour’, the
dramatic and graphic sides of the
composers imagination are already in
evidence. The way he strings together
the many themes and motifs is almost
like the appearance of many different
characters on stage, whom Mozart sets in
conflict with one another and describes
in music - often to droll effect, like
miniature operas without words. A
typical example of this ‘listing`
technique is the first movement of the F
major Symphony, K. 19a. An energetic
motif (triumphant husband) is followed
in bar 8 by a lyrical motif full of
dalliance (perhaps his young wife or
daughter), and this in turn is succeeded
in bar 14 by a confusing motif (new
person or looming confiict); in bar 19,
a dialogue or argument begins, and
everything is finally resolved in a kind
of coda starting at bar 29. In the
second part, these motifs are thrown
into chaos, varied almost in the manner
of a development section, and the
listener is called on to form his own
opinion, as it were.
We find such mini-operas in many of the
early symphonies, e.g. in K. 43, where
the 11-year-old composer spreads out a
wealth of events before us. This work
also derives an unusual sound from the
use of two violas. In the andante,
Mozart conjures up a fantastic sound by
blending two flutes, muted violins and
sophisticated pizzicato accompaniment.
One cannot help but be astounded by the
command of musical rhetoric that Mozart
possessed at such a young age: no
listener could fail to be gripped by his
narrative flow, and the music fascinates
with the most refined details of
instrumentation (e.g. slow movements
without oboes, sometimes even with
flutes).
The Symphony K. 22 is a typical theatre
overture, with the composer raising the
listener’s expectations as he presents
the different characters of the piece.
Here, too, the work ends with a hunting
scene. Such scenes were regarded by
contemporary audiences as an image of
the struggle for survival: as in real
life, there are always hunters and their
prey, both in the tragic genre, and -
not far off of course - in the comic
sphere. Starting with K. 42, minuets
once again make their appearance as a
standard feature of the symphonies. As
the remaining movements depict
characters and feelings, ideas and
conflicts, the minuet stands for
physicality and the dance. Here, Mozart
soon develops a lavish range, e.g, in K.
43, The Symphony K. 45 will be familiar
to opera-lovers as the overture to La
finta semplice, and you can really
hear the individual characters being
presented and described. In these
symphonies of the 10- to 12-year-old, we
experience Mozart at his wildest: never
again did he display such power to
surprise as here, testing in brilliant,
cheeky and precocious fashion just how
far he could go. Thus 'forbidden'
parallels satirize primitive characters,
and impermissible groups of semitones
are used to depict moaning and groaning:
not until the sextet in Don Giovanni
do we hear Leporello complaining like
this. Both in the slow movement of K.
45a and in the first movement of K. 45b,
the Jupiter motif crops up
again.
Otherwise, Mozart iinds colours wild and
romantic in the G major of K. 45a:
heroic daring contrasts with coquettish,
later grotesque reactions; threats evoke
fear, and all this in a style that
anticipates the young Beethoven! The
second and third movements transport us
to a rustic setting, with yodelling
peasants, rural life both coarse and
fine and even an exquisite farmers’
hunt. For a change, the last movements
of K. 45a and K. 45b are not hunting
scenes; the former is a march that
recapitulates the previous movements,
while the latter has the character of a
furious day of reckoning.
More interesting from one work to the
next, the minuets deserve a chapter to
themselves. Mozart calls anything a
rninuet that is danced in triple time,
whetherfast or slow, from polonaise to
passepied, from minuet to Ländler,
whether courtly or rustic - simply
everything. The wildness of the first
symphonies is maintained, but it is
joined in the D major work K. 48 and the
C major Symphony K. 75a by a superiority
and maturity that are nothing short of
remarkable, even by Mozart’s standards.
K. 48 is imperious and bizarre at the
same time - looking back to the Baroque
and older models, as it were - while
there is a good dash of irony in K. 75a.
The slow movements are lively and
enchanting andantes, one wrought after
the manner of a richly textured chorus,
the other a magical romantic dialogue
with flutes. The D major finale is
admittedly set in 12/8 time, but there
is no sign of the hunt here, this is a
glittering and turbulent little piece.
The tinale in C maior is a witty
gavotte-rondo where a group of
merrymaking villagers enioys folk music
couplets both funny and sad.
Nikolaus
Harnoncourt, 2004
Translation:
Clive
Williams
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Nikolaus
Harnoncourt (1929-2016)
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