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1 CD -
0630-17110-2 - (p) 1998
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| Wolfgang
Amadeus Mozart (1756-1791) |
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| Symphony No. 13 in F major,
KV 112 |
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14' 47" |
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| - Allegro |
5' 40" |
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1
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| - Andante |
4' 33" |
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2
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| - Menuetto
- Trio |
2' 28" |
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3
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- Molto
allegro
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2' 06" |
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4
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| Symphony No. 14 in A major,
KV 114 |
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20' 41" |
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- Allegro
moderato
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7' 42" |
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5
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| - Andante |
4' 44" |
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6
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| - Menuetto - Trio |
3' 41" |
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7
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- Molto
allegro
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4' 34" |
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8
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| Symphony No. 20 in D major,
KV 133 |
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28' 22" |
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- Allegro
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10' 44" |
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9
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| - Andante |
7' 44" |
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10
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| - Menuetto - Trio |
4' 23" |
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11
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| - Allegro |
5' 31" |
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12
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CONCENTUS MUSICUS
WIEN (with original
instruments)
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Erich Höbarth, Violine
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Dorle Sommer, Viola |
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Alice Harnoncourt, Violine |
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Gerold Klaus, Viola |
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Anita Mitterer, Violine |
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Barbara Klebel, Viola (KV 112) |
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Andrea Bischof, Violine |
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Herwig Tachezi, Violoncello |
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Helmut Mitter, Violine |
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Dorothea Guschlbauer, Violoncello |
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Peter Schoberwalter, Violine |
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Eduard Hruza, Violone |
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Karl Höffinger, Violine |
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Andrew Ackerman, Violone |
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Walter Pfeiffer, Violine |
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Robert Wolf, Traversflöte (KV
114, 133) |
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Irene Troi, Violine |
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Reinhard Czasch, Traverrsflöte
(KV 114) |
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Silvia Iberer-Walch, Violine |
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Hans Peter Westermann, Oboe |
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Editha Fetz, Violine |
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Marie Wolf, Oboe |
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Veronika Kröner, Violine (KV
112)
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Eleanor Froelich, Oboe (KV 112) |
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Ursula Kortschak, Violine (KV
114, 133)
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Milan Turkovič, Oboe (KV 114,
133) |
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Christian Tachezi, Violine |
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Eric Cushern, Horn |
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Annelie Gahl, Violine (KV 112)
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Alois Schlor, Horn |
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Thomas Feodoroff, Violine |
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Andreas Lackner, Naturtrompete
(KV 133) |
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Peter Schoberwalter junior, Violine |
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Herbert Walser, Naturtrompete
(KV 133) |
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Johannes Flieder, Viola (KV 114,
133) |
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Walter Seitinger, Pauken |
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Lynn Pascher, Viola |
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Herbert Tachezi, Orgel (KV 114,
133) |
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| Nikolaus
Harnoncourt |
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Luogo
e data di registrazione
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Casino
Zögernitz, Vienna (Austria) - dicembre 1994
(KV 114, 133), dicembre 1996 (KV 112)
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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" - 0630-17110-2 - (1 cd)
- 64' 15" - (p) 1998 - DDD |
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Prima
Edizione LP
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Musical Visiting
Cards, or A Child Prodigy Grows Up
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The three symphonies
recorded here, K. 112, 114 and 133,
date from 1771/72 and, as such, are
generally reckoned as early works from
the pen of a
composer who, although still only in
his midteens, could none the less have
been forgiven for resting on his
laurels: by this date the whole of Europe
had heard of the child prodigy who had
played before crowned heads and paying
audiences and who had passed every
test with flying colours, producing
impromptu settings of aria tcxts and
playing with a cloth covering the
keyboard. At the same time, Mozart
had not only been introduced to
all the leading authorities in music,
he had also got to know the most
disparate styles and learnt to
distinguish the German minuet from its
Italian equivalent
with the same self-assurance that
enabled him to write
operas in both the seria
and buffa styles. He
was still only eight when he composed
his first symphonies in london under
the guidance of Johann
Christian Bach and only fourteen when
Padre Martini initiated him into the
secrets of counterpoint in Italy
and when the Pope conferred on him the
Order of the Golden Spur and the
venerable Accademia Filarmonica of
Bologna admitted him as a
member.
In the field of the symphony, the
young Mozart had already made such a
name for himself that he guarded his
new works jealously.
In April 1770 he wrote
to his sister from Rome to announce
that he had just
completed a symphony, which their
father was having to copy since, if
they let it out of the house, it would
undoubtedly be stolen. When his festa
teatrale, Ascanio in Alba, wan
finally staged in Milan in October
1771 to celebrate the wedding of thc
Archduke Ferdinand of Austria, it
elicited such storms of approval that
people ran after him in the street and
one of the greatest opera composers of
his day, Johann Adolf Hasse,
is said to have
exclaimed that "this boy will put us
all in the shade". Mozart's ultimate
wish seemed about to be realised: a
salaried post as a court composer in Italy.
It was now time for
the almost sixteen-year-old
prodigy to bid farewell to his years
of apprenticeship and travel and
consider a regular career as a
composer. The Archduke
was by no means
disinclined to appoint him, and so
Mozart remained in Milan, waiting for
the offer of a post, as the weeks
turned into months and finally, in the
middle of December. the Archduke
received a letter from
Maria Theresia in which she gave her
son to understand that he should not
burden himself financially with
“people who are gallivanting about the
world like beggars".
It was during these
months of writting -
and possibly with the idea of making a
further mark on the world of music in
Milan - that Mozart
completed his Symphony in
F major K. 112. The feeling of
self-confidence on the part of the
prospective court composer seems to
find expression here not only in the
sheer length of the piece (at almost
15 minutes, it is virtually twice as
long as his earlier contributions to
the medium) but also in its inclusion
of a Menuetto in
third position. At
this period, the symphony as a genre
had yet to acquire a unified form:
while Italian composers hahitually
wrote two- and three-movement works,
the Austrian tradition provided for a
four-movement structure, including a
brief Menuetto. Even
earlier, Mozart had ardmitted:
"We should like to be able to
introduce the Gennan taste in minuets
into Italy, where
they last nearly as long as a whole
symphony." He now
set about suiting the action to the
word and adapted the Italian
sinfonia to Austrian taste (the
opening movement with its powerful
dynamic contrasts in the first subiect-group
and an extremely brief development
section is more Italianate
in character) and added a
l6-bar "German minuet" after the
Andante.
His hopes of an appointment in
Milan having been dashed, Mozart
returned to Salzburg in December 1771
and within the space of a
mere seven months wrote no fewer than
eight symphonies. All were undoubtedly
intended as musical calling cards, and
all find the ambitious composer in
consummate command of the medium. Even
before the end of the year he had
already completed the A major Symphony
K 114, the chamber-like
transparency of whose orchestral
textures is due, not
least, to the soft-toned timbre of the
flutes and to the inclusion of horns
in A - unusually highly pitched for
Mozart. By contrast, the addition of
trumpets and timpani in
the D major Symphony K.
153 ensures that this later piece
strikes a much more splendid and festive
note. The mirrorlike structure of the
opening rnovement reveals particular
ingenuity on the composer's part, with
the second subject returning before
the first in the recapitulation, with
the result that the main theme
provides the movement as a whole not
only with its self-confident opening
but also with its final
apotheosis, And
Mozart's decision to cast
the final movement in large-scale
sonata form rather than as the usual
fleet-footed rondo
ensures that the formal symmetry of
the opening movement is replicated on
the grandest scale,
thereby revealing the sixteen-year-old
composers conceptual genius
in all its impressive glory.
That these works seeved the purpose
for which they were written and opened
doors for the young composer is clear
from the fact that soon after the
cumpletion of K. 133
Mozart was appointed Konzertmeister to
Salzburg's archbishop Colloredo at
an annual salary of 150
gulden. Although hardly the
most prestigious of appointments, it
was none the less a respectable
start for a musical
genius who had now outgrown his child
prodigy's shoes.
Annette
Oppermann
Translation:
Stewart Spencer
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Nikolaus
Harnoncourt (1929-2016)
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