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1 CD -
9031-72289-2 - (p) 1991
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| Wolfgang
Amadeus Mozart (1756-1791) |
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| Symphony No. 27 in G major,
KV 199 (162a) |
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22' 10" |
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| - Allegro |
6' 42" |
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1
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- Andantino
grazioso
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10' 05" |
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2
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| - Presto |
5' 23" |
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3
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| Serenade
No. 5 in D major |
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42' 52" |
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| Marcia, KV 215 (213b) |
2' 41" |
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4
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| Serenata, KV 204 (213a) |
40' 11" |
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| - Allegro assai |
8' 20" |
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5
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| - Andante moderato |
6' 27" |
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6
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| - Allegro |
4' 59" |
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7
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| - Menuetto - Trio |
3' 32" |
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8
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| - [Andante] |
7' 46" |
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9
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| - Menuetto - Trio |
3' 46" |
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10
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| - Andantino - Allegro |
5' 21" |
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11
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| "Symphony
No. 27" |
"Serenade" |
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CONCENTUS MUSICUS
WIEN (mit
Originalinstrumenten)
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CONCENTUS
MUSICUS WIEN (mit
Originalinstrumenten)
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| -
Erich Höbarth, Violine |
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Erich Höbarth, Violine |
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| -
Alice Harnoncourt, Violine |
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Alice Harnoncourt, Violine |
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| -
Anita Mitterer, Violine |
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Anita Mitterer, Violine |
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| -
Andrea Bischof, Violine |
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Andrea Bischof, Violine |
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| -
Peter Schoberwalter, Violine |
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Peter Schoberwalter, Violine |
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Karl Höffinger, Violine |
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Karl Höffinger, Violine |
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| -
Helmut Mitter, Violine |
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Helmut Mitter, Violine |
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| -
Walter Pfeiffer, Violine |
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Walter Pfeiffer, Violine |
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Peter Matzka, Violine |
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Peter Matzka, Violine |
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Sylvia Iberer, Violine |
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Sylvia Iberer, Violine |
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Mary Utiger, Violine |
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Mary Utiger, Violine |
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Christine Busch, Violine |
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Christine Busch, Violine |
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Editha Fetz, Violine |
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Editha Fetz, Violine |
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Thomas Fheodoroff, Violine |
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Thomas Fheodoroff, Violine |
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Christian Tachezi, Violine |
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Christian Tachezi, Violine |
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Peter Schoberwalter junior, Violine |
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Peter Schoberwalter junior, Violine |
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Kurt Theiner, Viola |
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Kurt Theiner, Viola |
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Johannes Flieder, Viola |
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Johannes Flieder, Viola |
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Lynn Pascher, Viola |
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Lynn Pascher, Viola |
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Gerold Klaus, Viola |
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Gerold Klaus, Viola |
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Herwig Tachezi, Violoncello |
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Herwig Tachezi, Violoncello |
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Dorothea Guschlbauer, Violoncello |
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Dorothea Guschlbauer, Violoncello |
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Eduard Hruza, Violone |
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Eduard Hruza, Violone |
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Andrew Ackermann, Violone |
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Andrew Ackermann, Violone |
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Robert Wolf, Traversflöte |
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Robert Wolf, Traversflöte |
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Reinhard Czasch, Traversflöte |
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Reinhard Czasch, Traversflöte |
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Milan Turković, Fagott |
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Hans Peter Westermann, Oboe |
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Hector McDonald, Naturhorn |
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Marie Wolf, Oboe |
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Alois Schlor, Naturhorn |
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Milan Turković, Fagott |
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Hector McDonald, Naturhorn |
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Alois Schlor, Naturhorn |
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Karl Steininger, Naturtrompete |
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Hermann Schober, Naturtrompete |
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Michael Vladar, Pauken |
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Nikolaus
Harnoncourt, Leitung
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Luogo
e data di registrazione
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| Casino
Zögernitz, Vienna (Austria) - dicembre
1990 |
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Registrazione
live / studio
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| studio |
Producer
/ Engineer
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Wolfgang
Mohr / Helmut Mühle / Michael Brammann
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Prima Edizione CD
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| Teldec
"Das Alte Werk" - 9031-72289-2 - (1 cd)
- 65' 13" - (p) 1991 - DDD |
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Prima
Edizione LP
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Notes
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1773: on 13th March,
the 17-year-old Wolfgango
Amadeo Mozart, as he had been calling
himself since circa 1770, returned to
his native Salzburg frorn a trip to Italy
with his father Leopo|d. This was the
third italian journey
made by the father-and-son team: the
first lasted trom December 1769 to
March 1771, the second from
August to
December 1771. Unlike the first,
lengthy sojourn south of
the Alps, the Mozarts did not stay
away from home for so
long this time - from 24th October
1772 to 14th March 1773. And once
again, they had returned without
finding regular employment for
Mozart junior. Yet there had been no
lack of laurels for
the young composer on his travels: as
the first composer since Orlando di
Lasso to receive this title, Mozart
had been awarded the
Papal Order of the
Golden Spur in June 1770; the
Accademia Filarmonica in Bologna and
the same institute in Verona had
presented him with diplomas, and the
Mozarts had even been granted an
audience with the Pope himself.
The young composer, brilliant pianist
and talented violinist was
now a celebrity all over
Europe. Mozart's years as a `child
prodigy’ had almost receded into the
legendanry past, for
the Wunderkind had developed
into an artist of considerable
stature. Wolfgang
Amadeus was on friendly
terms with the
leading composers of the day with
Johann Christian Bach, Niccolò
Piccini, Giovanni Paisiello, Giovanni
Battista Sammartini,
Georg Christoph Wagenseil,
Michael Haydn and -
albeit not until later - Joseph Haydn,
with Johann Adolph Hasse
and Joseph Mysliveček.
Alert, and exceptionally receptive,
Mozart had studied the different
styles in use at the time, had
critically weighed them up against one
another, and had in the process given
more distinctive contours to his own
writing: in the sonata genre, in a
wide variety of divertimenti and
serenades, in a violin and a piano
concerto, and in symphonies. Between
1771 and 1774 he made no fewer
than seventeen contributions to the
latter genre! And they all display a
striking diversity of form and style.
Alongside the four-movement symphonies
here, we also find works with just
three movements, fast-slow-fast,
after the model of the italian opera
overture.
The Symphony in G major, K. 199
(162a / 161b),
belongs to the group of early
three-movement works it was written in
mid-April 1773 in
Salzburg, and Mozart followed the
example of the Mannheim school led by
Johann Stamitz in the scoring, adding
two flutes and two horns to the
obligatory strings, for which writing
usually adheres to the chamber style.
We have no information as to the
reason for the symphony’s composition.
Its character points
to one of the important functions of
the symphony in this period: to
satisfy the need for representation of
the nobility and - to an increasing
extent - of the upper middle class
too. For in the meantime, there were
quite a number of wealthy Salzburg
citizens who maintained an
instrumental ensemble of one size or
another. The demand for new music was
correspondingly great, and it goes
without saying that Mozart took the
desire to be entertained into account
in his symphonies, as well. However,
in those works written in the early 1770s,
in particular, we also find
growing signs of a tendency to
subjective expression: the Sturm
und Drang movement was not
without influence on the young Mozart.
Thus the thematic work is not
consistent in the first movement of
the G major symphony. But even here,
Mozart cannot conceal his talent for
drama: four
theatrical tutti chords open the
Allegro. After these, though, the
theme is carried through sequentially.
A development section is hinted at,
but not properly pursued, and there
are likewise only hints of passionate
and dramatic tones. One is struck by
the well-balanced architecture
of this expansive opening movement. In
the Andanfino grazioso, Mozart
abandons the contrasting character of
the minor: the music dallies
galant and gracious in the cheerful
key of D major. The subject of the
presto finale circles around the key
of G major, which is then confirmed in
the reprise: a composition technique
which Mozart refined and polished more
and more in his later works.
What we find in
nucleus form in the G major symphony
K. 199 is worked
out in full in the Serenade in D major
K. 204 (213a), written a
year later in August 1774.
The wind section has been extended to
include two trumpets and a bassoon
in addition to the pair of flutes or
oboes and the two horns. The influence
of the Harmoniemusik
for wind ensemble, which had a
long tradition in Austria, is very
much in evidence here. Mozart also
adds a solo violin to the body of
tutti strings. These steps illustrate
two characteristic developments in
Mozart's work; on
the one hand, he is experimenting
increasingly with timbre at this
stage. Thus woodwind is contrasted
with strings (e.g. in the Andante
moderato, where the thematic material
is taken up by both groups of
instruments; while in the trio of the
second minuet Mozart achieves an
attractive juxtaposition, with the
solo flute taking over the cantilena).
Mozart adds body to the sound of
the strings with wind timbre; and he
also combines the concertante and the
symphonic principles, as in the two A
major movements, Andante moderato and
Allegro, which are full-blown violin concerti
in miniature. And on the other hand,
Mozart also conquers new expressive
terrain on which he had hardly set
foot hitherto; through a pronounced
contrast of forte and piano,
for instance, by changing key and time
signature (e.g. from
the D major of the Allegro assai to
the A major of the Andante moderato,
or in the closing Rondo, where the
Andantino grazioso in 2/4 time
gives way to a furious 3/8 Allegro).
It has not been
possible to date to ascertain whether
the March in D major, K. 215
(213b) was originally
part of the
Serenade as music for marching on and
marching off again. But this was the
course normally taken by the
performance ritual in Mozart’s day -
and we know for certain that the
Serenade was played in Salzburg. This
much is recorded by Mozart’s
sister Nannerl in her diary: a Finalmusik,
as works of this
genre were called at the
time, was performed on 9th
August. Mozart must have been
particularly fond of the entire D
major serenade, for
he later reworked it
as a symphony in four
movements, which was played several times
in both Salzburg and Vienna.
Ingeborg
Allihn
Translation: Clive Williams
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Nikolaus
Harnoncourt (1929-2016)
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