Mozart - World Music Network

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THE ROUGH GUIDE to classical composers
Mozart
Wolfgang Amadeus Mozart (1756-1791)
In the distinguished and still highly
recommended 1980 edition of the Grove
Dictionary of Music and Musicians, Mozart
is rightly described as ‘the most universal
composer in the history of Western music’. A
hugely prolific creative force, he composed in
every conceivable musical genre of his time.
He wrote everything from arias of sweet
innocence to outrageously bawdy canons;
chamber music, sacred music, song,
opera, concerto and symphony all number
among his accomplishments. He was
entirely at home writing for full orchestra,
a cappella choir, string ensemble,
harpsichord, fortepiano or for vast church
organs. Mozart also didn’t shy away from
challenging instrumental line-ups, such
as an aria for bass voice and solo double
bass. Whatever he scored for, Mozart
managed to achieve unequalled heights
of quality and beauty. The fact that he had
such an unbelievably productive career in
a life that lasted less than thirty-six short
years is nothing less than astonishing.
Mozart was born in 1756 in Salzburg. The
composer’s illustrious career started from
a young age; before he had celebrated
his tenth birthday, he had performed in
Germany, Paris, London, Brussels and The
Netherlands. By the time he turned 25,
Mozart had already spent ten years touring
Europe professionally. On such excursions
the young virtuoso would perform tricks to
entertain his audience. One such musical
feat involved playing the piano with the
keyboard entirely covered up. These
adventures deeply influenced his character
and, in turn, his emergent musical voice.
He successfully overcame the ephemeral
fate of a child prodigy and grew into a wellrespected and mature musician.
By 1781, Mozart had settled in Vienna.
In the bustling musical city he worked
as one of the first freelance artists,
and to finance his career he gave piano
lessons, organized subscription concerts
and worked on a commission basis. With
each project he experimented and eagerly
pushed his original musical ideas to
innovative horizons.
Popular myth portrays Mozart as a
poor, sickly and lonesome man who
persistently burned the candle from
both ends. Indeed, he was an intensely
passionate professional who always
refused to settle for mediocrity in his
performances and in his compositions.
But a more realistic view of Mozart is of
a pragmatic man, who loved his family
dearly and sought out a secure income
to support them. His letters show a man
who was entirely obsessed with music.
He thought of melody, harmony, rhythm
and instrumentation at every waking
moment – whilst eating, celebrating,
playing billiards and even rehearsing.
He adored folk songs and drew ideas
from the sounds he encountered daily.
From the chants of his canary bird to the
cries of street vendors to the music of
his contemporaries, Mozart was entirely
stimulated and inspired by the world
around him. His innate ability to instantly
notate music by ear is the stuff of legend.
Mozart was a true genius who carved out
of simple sounds, music so beautiful that
it continues to capture the hearts and ears
of music lovers everywhere.
de la musique et des musiciens), ouvrage
distingué et toujours recommandé,
décrit à juste titre Mozart comme «le
compositeur le plus universel de l’histoire
de la musique occidentale». Doté d’une
force créative immense, très prolifique, il
a composé dans tous les genres musicaux
de son temps.
Wolfgang Amadeus Mozart (1756-1791)
Il a tout écrit: des doux airs innocents aux
canons outrageusement débauchés, en
passant par des morceaux de musique de
chambre, de musique sacrée, de chant,
d’opéra, des concertos et des symphonies.
Mozart était aussi à l’aise dans l’écriture
pour orchestre, pour chœur a capella,
pour cordes, clavecin, pianoforte ou
pour de grandes orgues liturgiques. Et il
n’hésitait pas à composer dans des genres
plus incongrus comme en témoignent
cette aria pour basse et contrebasse.
Mais dans tous ces domaines, Mozart a
réussi à atteindre des sommets inégalés
par la qualité et la beauté de sa musique.
Mener une carrière, si incroyablement
productive, en moins de trente-six ans,
est pour le moins étonnant.
L’édition 1980 du Grove Dictionary of
Music and Musicians (Dictionnaire Grove
Mozart est né en 1756 à Salzbourg.
Son illustre carrière a commencé dès
le plus jeune âge : avant son dixième
anniversaire, il s’était déjà produit en
Allemagne, à Paris, à Londres, Bruxelles
et aux Pays-Bas. A 25 ans, Mozart
sillonnait l’Europe en tournée depuis dix
ans. Dans ces voyages, le jeune virtuose
effectuait des tours musicaux pour
divertir son auditoire. L’un consistait à
jouer sur un clavier dont les notes étaient
cachées. Ces aventures ont profondément
influencé son caractère et, par suite, sa
voix musicale naissante. Il réussit ainsi
à surmonter le destin éphémère d’un
enfant prodige et devenir à l’âge adulte un
musicien très respecté.
En 1781, Mozart s’installa à Vienne où
il s’illustra comme un des premiers
artistes indépendants. Pour subvenir
à ses besoins, il donna des leçons de
piano, organisa des concerts et gagna sa
vie grâce aux commissions. A chaque
projet, il expérimenta et poussa
ardemment
des
idées
musicales
originales issues d’horizons innovants.
Un mythe populaire dépeint Mozart comme
un homme pauvre, malade et solitaire qui
brûlait toujours la chandelle par les deux
bouts. En effet, c’était un musicien intense
et passionné, dont les performances et les
compositions refusaient la médiocrité. Une
vision plus réaliste fait de lui un homme
pragmatique, qui aimait tendrement les
membres de sa famille et cherchait un
revenu sûr pour les soutenir. Ses lettres font
apparaître un homme littéralement obsédé
par la musique. Il pensait en permanence
à la mélodie, à l’harmonie, au rythme et à
l’instrumentation - en mangeant, en faisant
la fête, en jouant au billard et même durant
les répétitions. Il adorait les chansons
folkloriques et s’inspira des musiques qu’il
rencontrait dans la vie quotidienne. Des
chants de son canari à la musique de ses
contemporains, en passant par les cris des
vendeurs des rues, Mozart fut entièrement
stimulé et inspiré par le monde environnant.
Sa faculté innée à noter instantanément
la musique qu’il entendait est légendaire.
Mozart était un véritable génie qui a forgé
des morceaux simples, une musique si
belle qu’elle continue partout de conquérir
les cœurs et les oreilles des amateurs
de musique.
edición de 1980 del Grove Dictionary of
Music and Musicians, se describe de
manera muy acertada a Mozart como ‘el
compositor más universal de la historia
musical de Occidente’. Fue una fuerza
creativa enormemente prolífica, que
compuso para cada uno de los géneros
concebibles de aquella época.
Wolfgang Amadeus Mozart (1756-1791)
Escribió de todo: desde arias de dulce
inocencia, hasta cánones; música de
cámara, música sacra, canción, ópera,
conciertos y sinfonías cuentan también
entre sus logros. Componía todo en casa,
escribiendo para orquestas enteras, coros a
capella, para conjuntos de cuerda, clavecín,
pianoforte, o para vastos órganos de iglesia.
Mozart tampoco se encogía a la hora
de realizar actuaciones principales que
representaban un reto instrumentalmente,
como fueron la aria para bajo o el solo de
contrabajo. Fuera el que fuese el objetivo
de Mozart, siempre conseguía alcanzar
cuotas de calidad y belleza sin parangón.
El hecho de que desarrollara una carrera
tan asombrosamente productiva en los
escasos treinta y seis años que duró su
vida resulta, cuanto menos, asombroso.
En la distinguida, y aún recomendable
Mozart nació en Salzburgo en 1756. La
ilustre carrera del compositor comenzó a
una edad muy temprana: antes de cumplir
la decena de años, ya había actuado en
Alemania, París, Londres, Bruselas y los
Países Bajos. Cuando Mozart cumplió los
25, ya había pasado diez años haciendo
giras profesionales por toda Europa.
Durante sus excursiones, el virtuoso
joven realizaba trucos mientras tocaba
para entretener a su audiencia; uno de
sus trucos consistía en tocar el piano con
el teclado completamente tapado. Todas
estas aventuras marcaron profundamente
su carácter, y en su momento, su
emergente voz musical. Mozart superó
con éxito el destino efímero del joven
prodigio, para convertirse en un músico
maduro y respetado.
Corría el año 1718 y Mozart se había
asentado en Viena. Trabajaba en la
bulliciosa y musical ciudad como uno de
los primeros artistas independientes y
financiaba su carrera impartiendo clases
de piano, organizando conciertos por
suscripción y trabajando básicamente por
encargo. Con cada uno de sus proyectos
experimentaba y elevaba, ilusionado, sus
ya originales concepciones musicales
hacia horizontes más innovadores.
La creencia popular retrata a Mozart
como a un hombre pobre, enfermizo y
solitario que trataba persistentemente
de abarcar demasiado. Y efectivamente,
fue un profesional intenso y apasionado
que siempre se negó a conformarse con
la mediocridad, tanto en sus actuaciones
como en sus composiciones. Pero
también existe una visión más realista de
Mozart que lo describe como un hombre
pragmático, que amaba profundamente
a su familia y que buscó una base segura
de sustento para su familia. Sus cartas
muestran a un hombre que estaba
completamente obsesionado con la
música. Pensaba en términos de melodía,
armonía, ritmo e instrumentación
a cada momento – mientras comía,
mientras festejaba, jugando al billar, o
incluso mientras ensayaba. Adoraba las
canciones folclóricas y boceteaba ideas
a partir de los sonidos que descubría
a diario. Desde el canto de su canario o
las voces de los tenderos ambulantes,
hasta la música de sus contemporáneos.
El mundo que lo rodeaba estimulaba e
inspiraba a Mozart completamente. Su
habilidad innata para identificar las notas
de oído y al instante forma parte de su
leyenda. Mozart fue un verdadero genio,
capaz de esculpir, a partir de simples
sonidos, música tan bella que incluso
hoy continúa cautivando los corazones y
oídos de los amantes de la música en todo
el mundo.
Symphony No. 1 in E flat major, KV16:
III. Presto - This straightforward yet
joyful presto is the closing movement
from Mozart’s first symphony. Composed
at the tender age of just 8 years old, the
work was no doubt written under the
watchful eye of his scrutinous teacher and
father, Leopold. The work nevertheless
demonstrates Mozart’s legendary natural
talent and impressively early skill.
Symphony No. 41 in C major, KV551,
‘Jupiter’: IV. Molto Allegro - This track
is the closing movement from Mozart’s
final symphony. The work is a contrapuntal
masterpiece with four individual themes
intricately woven together. One of the
themes, a four-note motif that opens
the movement is based upon a
Gregorian chant, a technique also used
by many of Mozart’s contemporaries,
including
Johannes
Brahms
and
Robert Schumann.
Don Giovanni, KV527: Act I: Aria: Dalla
Sua Pace - This aria is taken from the
opera Don Giovanni. The story tells of
the scurrilous and arrogant Giovanni,
who manipulates and abuses all he
encounters. Giovanni and Ottavio compete
for the affections of Donna Anna. This aria
features Ottavio alone, mulling over his
fate and declaring once more his undying
love for Donna Anna.
Così Fan Tutte, KV588: Terzettino. Soave
Sia Il Vento - In this scene from the opera
buffa Così Fan Tutte, two young women
wave goodbye to their fiancés, who are
leaving aboard a ship that is supposedly
bound for a war site. In fact the men have
lied to their lovers. They plan to return and
test the ladies’ faithfulness by attempting
to seduce each other’s partners. In this
work, the voices hover over a gentle
murmuring string texture that recalls
softly rolling waves. The woodwind section
echoes the vocal trio underscoring the
ladies’ emotions of longing and sadness.
Die Zauberflöte (The Magic Flute),
KV620: Act II: Pa-Pa-Pa-Pa-Pa-PaPapageno (Papageno, Papagena) - This
duet features the characters Papageno
and Papagena, two star-crossed lovers
who are meant for each other. At the end
of this popular opera, Die Zauberflöte, the
two are finally united, and join together in
clumsy and witty song. They stutter each
other’s names and affectionately plan out
their future together.
Piano Concerto in D minor, KV466: I.
Allegro - The opening Allegro from Mozart’s
Piano Concerto in D minor confronts the
listener with a dark and mystic sound.
Low tremulous strings roll in like distant
rumbling thunder, the violins expound a
shifting rhythm before woodwinds, brass
and drums explode across the texture like
a storm breaking loose.
Piano Concerto No.21 in C major,
KV467: II. Andante - In this piece, an
understated yet graceful melody is
underpinned by peaceful, quietly pulsing
triplets. The magical and subtle texture
pulls and melts away the slow tempo,
creating a sense of reverie. It is said
that the true genius of a composer
is revealed in the slow music of their
repertoire. This is certainly true of this
movement. The music is at once simple
and entirely beautiful.
Piano Concerto No. 27 in B flat major,
KV595: III. Allegro - This rondo is the
closing movement from the last concerto
Mozart ever wrote. The music portrays the
beauty of springtime, the joy of dancing
and the richness of life.
Sehnsucht Nach Dem Fruhlinge, KV596:
‘Komm, Lieber Mai’ - This song was
written shortly after Mozart completed
his last ever piano concerto and contains
much of the same melodic material as the
last movement of that work. An opening
rising triad paints a picture of a lush
springtime scene, with bright flowers
bursting into bloom. The medium of song
was not Mozart’s favourite compositional
approach, yet this work is a pleasant foray
into the genre.
Serenade No. 10, ‘Gran Partita’ in B
flat major, KV361: III. Adagio- The 1984
feature film Amadeus, directed by Miloš
Forman, tells an embellished story
loosely based around the lives of Mozart
and his rival composer Antonio Salieri. In
one scene Salieri chances a glimpse at
the score to the music of this track, the
Adagio from Mozart’s Serenade in B flat
major. He marvels at the utter simplicity
of the music and wonders how so few
notes could possibly make a sound that
is so unspeakably beautiful. The storyline
may not be entirely accurate, but this
scene appropriately highlights Mozart’s
amazingly understated yet striking
compositional approach.
Clarinet Quintet in A major, KV581: I.
Allegro - The virtuoso clarinetist Anton
Stadler was one of Mozart’s favourite
instrumentalists, and a close friend.
He composed the solo clarinet part in
his last opera, La Clemanza Di Tito, the
famous clarinet concerto, and the work
this track is taken from Clarinet Quintet
in A major with Stadler in mind. A jewel of
the classical chamber music repertoire,
this work influenced the future of clarinet
writing considerably.
Albert Hosp is an award-winning radio
broadcaster from Vienna. In his youth he
studied a multitude of musical instruments
and styles including violin, conducting and
jazz theory. Since the 1980s he has worked as
a presenter and producer for Ö1, a cultural
radio channel broadcast by the Austrian
corporation ORF. Albert’s radio programs
regularly feature in-depth interviews with
world-class musicians, discussion and
analysis of classical music and a focus
on world music. Albert curates Austria’s
largest world music festival, Glatt & Vrkehrt
and is a panel member of the World Music
Charts Europe. Albert is also a professional
choir master, singer and speaker working
mostly in the field of contemporary music.
01 L’Orefeo Baroque Orchestra, Michi Gaigg
(Conductor) Symphony No. 1 in E flat major,
KV16: III. Presto
from the album MOZART: CONCERT ARIAS FOR TENOR
AND ORCHESTRAL WORKS (CPO9998102)
(W.A. Mozart) Public Domain. Licensed from CPO.
02 Cappella Istropolitana, Barry Wordsworth
(Conductor) Symphony No. 41 in C major,
KV551, ‘Jupiter’: IV. Molto Allegro
from the album MOZART: SYMPHONIES NOS 38 AND 41
(HMC901958) (W.A. Mozart) Public Domain. Licensed from
Harmonia Mundi.
03 English Chamber Orchestra, Ernst Haefliger
(Tenor) Don Giovanni, KV527: Act I: Aria:
Dalla Sua Pace
from the album MOZART: OPERA AND CONCERT ARIAS
(CD508305) (W.A. Mozart) Public Domain. Licensed from
Claves.
04 Cappella Istropolitana, Johannes Wildner
(Conductor), Joanna Borowsak (Soprano),
Rohangiz Yachmi (Mezzo-Soprano), Peter
Mikulas (Bass) Così Fan Tutte, KV588:
Terzettino. Soave Sia Il Vento
from the album MOZART: COSI FAN TUTTE (HIGHLIGHTS)
(NAXOS8.553172) (W.A. Mozart) Public Domain. Licensed
from Select Music and Video Distribution Ltd.
05 Failoni Orchestra, Michael Halasz
(Conductor), Elizabeth Norberg-Schultz
(Soprano), Georg Tchy (Baritone) Die
Zauberflöte (The Magic Flute), KV620: Act II:
Pa-Pa-Pa-Pa-Pa-Pa-Papageno (Papageno,
Papagena)
from the album MOZART: ZAUBERFLÖTE (DIE) (THE
MAGIC FLUTE) (HIGHLIGHTS) (NAXOS8.553438) (W.A.
Mozart) Public Domain. Licensed from Select Music and
Video Distribution Ltd.
06 Mozarteum Orchester Salzburg, Ivor
Bolt (Conductor), Lars Vogt (Piano) Piano
Concerto, KV466: I. Allegro
from the album MOZART: PIANO CONCERTOS NOS 20
AND 23 (OC727) (W.A. Mozart) Public Domain. Licensed
from Oehms Classics.
07 London Mozart Players, Howard Shelley
(Piano) Piano Concerto No. 21 in C major,
KV467: II. Andante
from the album MOZART: PIANO CONCERTOS NO. 21 AND
NO. 22 (CHAN9404) (W.A. Mozart) Public Domain. Licensed
from Chandos.
08 Concentus Hungaricus, András Ligeti
(Conductor), Jeno Jando (Piano) Piano
Concerto No. 27 in B flat major, KV595:
III. Allegro
from the album MOZART: PIANO CONCERTOS NO. 9 AND
NO. 27 (NAXOS8.550203) (W.A. Mozart) Public Domain.
Licensed from Select Music and Video Distribution Ltd.
09 Ruth Ziesak (Soprano) And Ulrich Eisenlohr
(Piano) Sehnsucht Nach Dem Fruhlinge,
KV596: ‘Komm, Lieber Mai’
from the album MOZART: SONGS (COMPLETE)
(NAXOS8.557900-01) (W.A. Mozart) Public Domain.
Licensed from Select Music and Video Distribution Ltd.
10 Nederlands Blazers Ensemble Serenade
No. 10, ‘Gran Partita’ in B flat major, KV361:
III. Adagio
from the album MOZART: GRAN PARTITA (NBECD017)
(W.A. Mozart) Public Domain. Licensed from NBE.
11 Vienna Mozart Academy, Johannes Wildner
(Conductor) Clarinet Quintet in A major,
KV581: I. Allegro
from the album MOZART: CLARINET QUINTETS
(NAXOS8.550390) (W.A. Mozart) Public Domain. Licensed
from Select Music and Video Distribution Ltd.
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