 |
1 CD -
4509-93348-2 - (p) 1995
|
|
| Wolfgang
Amadeus Mozart (1756-1791) |
|
|
|
|
|
|
|
Serenade No. 3 in D major
("Antretter")
|
|
|
|
Marche, KV
189 (167b) - Andante
|
|
3' 45" |
1
|
| Serenade,
KV 185 (167a) |
|
48' 12" |
|
- Allegro
assai
|
9' 05" |
|
2
|
| - Andante |
9' 11" |
|
3
|
| - Allegro |
2' 49" |
|
4
|
- Menuetto
- Trio
|
4' 16" |
|
5
|
- Andante grazioso
|
8' 37" |
|
6
|
- Menuetto
- Trio I - Trio II
|
5' 23" |
|
7
|
- Adagio -
Allegro assai
|
8' 51" |
|
8
|
| Divertimento No. 1 in
E flat major, KV 113 |
|
13' 15" |
|
| - Allegro |
4' 06" |
|
9
|
| - Andante |
3' 44" |
|
10
|
| - Menuetto - Trio |
1' 56" |
|
11
|
- Allegro
|
3' 29" |
|
12
|
|
|
|
|
Serenade,
KV 185
|
Divertimento,
KV 113 |
|
|
|
|
CONCENTUS MUSICUS
WIEN (mit
Originalinstrumenten)
|
CONCENTUS
MUSICUS WIEN (mit
Originalinstrumenten)
|
|
-
Erich Höbarth, Violine (Solo in
KV 185)
|
-
Erich Höbarth, Violine
|
|
| -
Alice Harnoncourt, Violine |
-
Alice Harnoncourt, Violine |
|
| -
Andrea Bischof, Violine |
-
Andrea Bischof, Violine |
|
| -
Peter Schoberwalter, Violine |
-
Peter Schoberwalter, Violine |
|
-
Karl Höffinger, Violine
|
-
Anita Mitterer, Violine |
|
| -
Anita Mitterer, Violine |
-
Walter Pfeiffer, Violine |
|
| -
Walter Pfeiffer, Violine |
-
Maria Kubizek, Violine |
|
| -
Maria Kubizek, Violine |
-
Silvia Walch-Iberer, Violine |
|
| -
Silvia Walch-Iberer, Violine |
-
Irene Troi, Violine |
|
| -
Irene Troi, Violine |
-
Barbara Klebel, Violine |
|
| -
Barbara Klebel, Violine |
-
Herlinde Schaller, Violine |
|
| -
Herlinde Schaller, Violine |
-
Thomas Feodoroff, Violine |
|
| -
Thomas Feodoroff, Violine |
-
Veronica Kröner, Violine |
|
| -
Veronica Kröner, Violine |
-
Peter Schoberwalter junior, Violine |
|
| -
Peter Schoberwalter junior, Violine |
-
Christian Schneck, Violine
|
|
| -
Christian Schneck, Violine |
-
Helmut Mitter, Violine
|
|
| -
Lynn Pascher, Viola |
-
Maighread McCrann, Violine |
|
| -
Helmut Mitter, Viola |
-
Johannes Flieder, Viola
|
|
-
Gerold Klaus, Viola
|
-
Dorothea Guschlbauer, Violoncello |
|
-
Ursula Kortschak, Viola
|
-
Andrew Ackerman, Violone |
|
-
Herwig Tachezi, Violoncello
|
|
|
| -
Dorothea Guschlbauer, Violoncello |
|
|
-
Eduard Hruza, Violone
|
|
|
| -
Andrew Ackerman, Violone |
|
|
-
Robert Wolf, Flauto traverso
|
|
|
-
Reinhard Czasch, Flauto traverso
|
|
|
-
Hans Peter Westermann, Oboe
|
|
|
-
Marie Wolf, Oboe
|
|
|
|
|
| Nikolaus
Harnoncourt, Leitung |
|
|
Luogo
e data di registrazione
|
Casino
Zögernitz, Vienna (Austria):
- novembre 1993 (KV 185, 189)
- ottobre 1990 (KV 113) |
|
Registrazione
live / studio
|
| studio |
Producer
/ Engineer
|
| Wolfgang
Mohr / Renate Kupfer (KV 113) / Helmut
Mühle / Michael Brammann (KV 185, 189) /
Eberhard Sengpiel (KV 113) |
Prima Edizione CD
|
| Teldec
"Das Alte Werk" - 4509-93348-2 - (1 cd)
- 65' 24" - (p) 1995 - DDD |
|
Prima
Edizione LP
|
-
|
|
|
Notes
|
In February 1975 the
116-page autograph score of the
“Antretter" Serenade was bought by an
anonymous American bidder at an
auction in Marburg for DM 250,000.
Perhaps the buyer
derived particular pleasure from
perusing a score by the
seventeen-year-old Mozart and feeling
himself transported back to a time
when musicians would parade through
Salzhurg's narrow streets and serenade
persons of rank. It
appears that Mozarts third Serenade K.
185 (167a) was not written at a single
sitting but that the march K.
189 (167b) wm added at a later date to
an existing seven-movement work. It
is clear, moreover, from Leopold
Mozart's hand that the opening
movements were composed in Vienna in
two stages over a relatively brief
period. Father and son
stayed in the city from
14 July to 26
September 1773, and
it was from here that Leopold wrote to
his wife on 21 July: "I
must close, for I
have to write a few lines to young
Herr von Andretter and send him the
beginning of the Finalmusik."
The piece was finished by early
August and sent to Salzburg by
mail-coach. Mozart took the
opportunity to have the march - a
regular feature of every serenade -
bound into his autograph score.
Before performing a serenade -
as its name implies, it was
traditionally played in the evening -
the musicians would meet at the home
of one of their colleagues or at the
composer’s house and
quickly learn the march by heart. They
would then repair to the place where
the performance was to be held,
repeating the march as they went and
attracting large numbers of local
inhabitants. Once they had reached
their destination - a public square or
garden or the home of the individual
being serenaded, but generally out of
doors - the musicians
would set up their music stands and
begin to play the serenade itself. At
the end of their performance, during
which they remained standing, they
would then depart to the strains of
the introductory march.
The present serenade was commissioned
by Judas Thaddäus
von Antretter, the eldest son of
Johann Ernst von
Antretten, who was a regional
chancellor and councillor in the War
Department at the Salzburg Court.
Judas Thaddäus had
just turned twenty in
the summer of 1773 and
was studying philosophy at Salzburg
University, where it was customary,
following the completion of the
end-of-year examinations, to perform
an instrumental serenade in the form
of a Finalmusik. The audience
traditionally included the
prince-archbishop and the teachers
from the university, and the
performance was held either at Schloß
Mirabell, which had been the
prince-archbishopßs
summer residence since 1745, or in the
university buildings housing the
teaching staff (at least to the extent
that the latter were
members of the Benedictine order).
Antretter, who appears to have been
relatively well-to-do, had pursued a
traditional academic career starting
with grammar and progressing via
syntax, poetry and rhetoric to logic.
It was to celebrate
his accession to the ranks of the logicians
and to thank his teachers that he
commissioned K. 185 and paid for the
necessarz musicians. Mozart
responded with a non-traditional
serenade. Apart from the additional
march, the genre normallv comprised
six movements, with two quick outer
movements, two slow movements and two
minuets. In the present
case, Mozart has added a second
Allegro between the first Andante and
first Menuetto,
thereby producing a seven-movement
work scored for strings, oboes, horns
and festive trumpets. In
the march and second Andante the oboes
are replaced by flutes, while the two
Andantes and the second Allegro
dispense with trumpets and, with the
addition of a solo violin line, assume
the form of miniature concertos. The
violin soloist is also prominent in
the first Trio from the second
Menuetto, which is scored exclusively
for strings. In the
expositions of the sonata movements,
the first subject clearlv dominates,
the development sections being
markedly brief and limited, in part,
to a mere eight bars. In
the development section of the final
movement, Mozart introduces a false
recapitulation with a premature return
of the first subject. Haydnis
influence is clearlv felt not only
here but also in the witty treatment
of the woodwind and
brass, the taut rhythms of the minuets
and the melodic writing of the second
Andante. In spite of the
deeper emotions that are explored in
the Adagio introduction to the final
movement (an infectiously lively
gigue), the work
remains a carefree serenade of
markedly jubilant stamp and is brought
to a brilliant conclusion with a
powerful crescendo and the sound of
festive fanfares.
Mozarts two-act festa
teatrale, Ascania in Alba,
received its first performance at the
Teatro Regio
Ducal in Milan on 17 October 1771
during his second great italian tour.
The following month the fifteen-year-old
composer wrote his Divertimento in E
flat major K. 113 for Albert
Michael von Mayr, a
wealthy patron of the arts. It
survives in two different versions.
For Milan, Mozart scored the work for
two solo violins, viola. bass, two
clarinets (the first
time these instruments are found in
any of his works) and two horns,
thereby producing a curious imbalance
between four-part strings and four-part
winds. In order to
show off the piece in his native
Salzburg, where he had no clarinets at
his disposal, Mozart rewrote parts of
the score, replacing the clarinets by
pairs of oboes and english
horns, adding two bassoons and
increasing the complement of strings.
The outer movements of
this four-movement divertimento are
cast in traditional sonata form, with
two contrasting subjects apiece. In
the Andante violin and clarinet vie
with each other in unfolding a
cantabile melody. The Trio of the
Menuetto introduces a note of painful
melancholy to the otherwise festive
mood, and the finale, with its
succession of brief motifs divided by
rests, prefers clear harmonic textures
to melodic memorability. In describing
the original Version of K. 113
as a “Concerto ossia Diveitimento à
8", Leopold Mozart aptly defined the
piece's intermediate status between at
concertante work written to be
performed out of doors and an
intirnate instance of chamber music.
Uwe
Kraemer
Translation:
Stewart Spencer
|
|
Nikolaus
Harnoncourt (1929-2016)
|
|
|
|
