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Wydawnictwo: Lawo Classics
Nr katalogowy: LWC 1141
Nośnik: 1 CD
Data wydania: listopad 2017
EAN: 7090020181639
na zamówienie
Nasze kategorie wyszukiwania

Epoka muzyczna: klasycyzm
Obszar (język): niemiecki
Instrumenty: obój, klarnet
Rodzaj: serenada, opera

Mozart: For Wind Octet

Lawo Classics - LWC 1141
Oslo Kammerakademi:
David Friedemann Strunck, oboe
Jarl Eivind Aspen, oboe
Andjei Maevski, clarinet
Victor Alsen, clarinet
Steinar Granmo Nilsen, horn
Niklas Sebastian Grenvik, horn
Alessandro Caprotti, bassoon
Roman Reznik, bassoon
Trond Olaf Larsen, bassoon
Tuomo Savolainen, double bass
Cathrine Nyheim, timpani
Nagrody i rekomendacje
Fanfare Recommendation
Woflgand Amadeus Mozart:
Serenade in E-flat major, KV 375
Serenade in C minor, KV 388
La Clemenza di Tito, KV 621 - Ouverture and Arias from 1. Act arranged by Joseph Triebensee (1772–1846)
Mozart was certainly in trouble after June 8, 1781, after having received the oft cited “kick in the backside” by the Archbishop of Salzburg, who had completely lost his patience with the composer. Out of work in his own hometown, he decided to try his luck in Vienna. In a musical metropolis like Vienna, there weren’t necessarily any openings for composers who fell in disrepute with their masters. It was now of the utmost importance to come up with a stunningly brilliant idea! He began composing The Abduction from the Seraglio, but according to a letter he wrote to his father Leopold, the work was constantly delayed due to changes to the libretto and trouble with the production itself. In the same letter, he added that he would gladly accept other composition tasks in the meantime.

Therese Hinckel was the niece of the court painter. On the occasion of her name day, October 15, 1781, a celebration was to be held. Mozart was commissioned to compose Nachtmusik (serenade) for the occasion. The work was orchestrated for two clarinets, two horns, and two bassoons. That evening the six winds performed the serenade twice! Mozart wrote to his father that this was particularly demanding for the hornists. Nevertheless, the same sextet surprised Mozart on the morning of his name day, October 31, with another performance of the serenade.

Mozart had previously composed a whole series of divertimenti for six winds, but they were for two oboes, two horns, and two bassoons. In Vienna, however, the clarinet had made its debut and Harmoniemusik without this very popular innovation would have been an unwise choice for such a young and promising composer! The term Harmoniemusik is of a somewhat unclear origin, but it is usually attributed to a chamber ensemble consisting of wind players from a Viennese classical era orchestra, and it was precisely at this time that the clarinet found its place in the orchestras of Vienna. As mentioned, Vienna was undoubtedly the world’s leading musical center, so this novelty rapidly spread to other cities!

Harmoniemusik was on its way to becoming a huge trend! Several of the leading courts in Central Europe eventually formed such ensembles. In Vienna, the Prince of Liechtenstein had his own Harmoniemusik, which eventually was led by the legendary oboist Triebensee. At Hofburg in Vienna, even the emperor, who already had several musicians employed in the opera and military orchestras, wanted his own Harmonie ensemble, and in April 1782, the Kaiserliche Harmonie- und Tafelmusik saw the light of day. The name of this group says a lot about its function. This flexible ensemble was supposed to play for feasts and banquets, at outdoor events, and in more intimate settings. The ensemble, consisting of two oboes, two clarinets, two horns, two bassoons, and a sixteen-foot bass instrument (double bass or contrabassoon to double second bassoon), made art music even more accessible than before. In a way, Harmoniemusik was a kind of classical portable stereo system!

Recorded in Ris Church, Oslo, 20-22 March and 1-3 May 2015

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