As a Beethoven's lover and follower of his art for a lifetime, I have to recognize that this is the greatest work for woodwinds assembly of the history, and one of the greatest works ever conceived by a human mind. A truly gift to mankind by Herr Mozart.
@@dubbelhenke854 I agree with your ordering. And just cannot shake the feeling that there is a gap between Mozart and the rest. When will we have another Mozart? Will it be in our lifetimes?
Actually it was all composed by his wife (and previously his sister) but the patriarchy has covered this up. Also the fact that the Mozarts were Black Muslims.
Mozart es sólo Mozart....un genio que vino de otra dimensión y nos visitó y dejó joyas de arte para que nosotros los simples mortales, a más de 200 años de su muerte, disfrutemos simplemente...Saludos María.-
You know, it's funny, the first time I noticed clicking winds was on this recording of Daphnis and Chloe. That's a piece, if any, where you want to be swept away from the practical nature of the creation of music and see the fantasy. Yet still, those clicking keys were always something I enjoyed about that recording. Great observation!
While Beethoven created his music, Mozart's "is so pure that it seem to have been ever-present in the universe, waiting to be discovered by the master." *Albert Einstein*
@@jesusmanriquezsantana1590 My music is magical, as well. Take a look at my 32nd Sonata, the slow movements of any of my symphonies or sonatas, and the 5th Piano Concerto.
I have Sir Neville Marriner's conducting of the Gran Partita which is really wonderful. This performance with Sir Charles Mackerras is an equally wonderful and beautiful interpretation. Each instrument with its own special timbre of this recording is simply outstanding in this beautiful Mozart piece. Bravo to both Sirs.
I agree. His foes, of which Mozart had many and he knew it, killed him off ritualistically and really made him suffer before the final death knell got him just after midnight on December 5, 1791.
Ive played this on contrabassoon, twice. This is by far the hardest movement. It was clearly written for a string bass. There is NOWHERE to take a breath. But, goosebumps every time Ive played it and hear it.
Can you share some video/album recording of that version? I would like to hear how contrabasoon works in the piece, but it is hard find really. It is always a bass
KV 46 I believe is what you are looking for @xura that @carlos was referring to. Although only one recording of this *seemingly* exists, it is proof that the whole serenade was once a string quintet. So yes you are right, and you are welcome 🤗💕
it begins like a rusty old squeezebox and then soaring high above it an oboe which is taken over by a clarinet and turns it into a phrase of sweetest delight. Why don't they make movies like this anymore?
@@wlrlel This being social media, of course it's "dumb" to think like me, and not dumb to think like you. And this being social media, I'll take that comment with all the seriousness it deserves.
This is exquisite! First heard it on the radio, Charles MacKerras conducting, and had to buy the same recording. I used to go down from the mountains after a day's skiing listening to Sir James Galway's interpretation of Mozart's fute concerto..Himmlich!
Great rendition ! This familiar music has now been recorded many times, but seldom as effectively as it is here. Sir Charles Mackerras is a superb Mozartean, and this performance just brims with life. The rhythms are crisp and clearcut, the phrasing loving, and the balances consistently superb. Telarc's recording, with its lifelike presence, is another positive factor
He was also principal oboe of the Sydney Symphony Orchestra, having learned from the great Evelyn Rothwell who has had a profound influence on thousands of oboists since she wrote her wonderful tutorials. It helps explain Mackerras's wonderful lyricism.
Wonderful and soothing to listen too. As a person who suffers from tinnitus l cannot describe in words how this helps with calming 'the noise' down, and give me relief, if only for those few precious minutes. Most comments mentioned this from 'Amadeus'. This music was also used in the dinner scene in an even older movie 'Soylent Green'. Whomever posted this, two simple words. THANK YOU.
If I recall: Mozart and friends in Mannheim were getting the piece ready to play, and the bass player couldn't show up, flu or something, so they got the [court] bassoonist and Mozart wrote him out a part.
I have played classical music all my life, but my loss, never this piece. One of my bucket list that probably will never materialize. This music is brilliant, inspired and breathtaking. This piece identifies him as a Master.
escuché esta serenata por primera vez en 1983, en un homenaje a Mozart que organizaron varias orquestas de Caracas, varios musicos de la actual orquesta sinfónica municipal de caracas la tocaron y me enamoré del adaggio, compré el disco y ya no recuerdo cuantas veces la he escuchado. El dialogo entre los instrumentos inisinúa el amor en todas sus manifestaciones: parental, de pareja, entre amigos, amor por la naturaleza y el universo. gracias Mozart
I completely agree. I tend to like recordings that are lightly engineered. That is one of several reasons why a majority of recordings I have bought are of live, public performances. (I generally prefer to go to a concert than listen to a recording.) I don't know the history of this recording in that respect. I can tell there's some engineering going on; but it's so subtle and so well balanced that it has the kind of sonority that can pass for a live performance in a fairly resonant hall. As you say - medal-deserving!
ESTA SERENATA, É UMA DAS MAIS PRODIGIOSAS OBRAS DO SUPER GÊNIO DE SALZBURGO. COMO SEMPRE SE NOTA EM SUAS MÚSICAS SEJA PARA PIANO, DE CÂMARA, SINFONIAS, PEÇAS SACRAS OU ÓPERAS E ETC. SÃO RIQUÍSSIMAS EM MELODIA, HARMONIA, CONTRAPONTO E RITMO. MOZART É ÚNICO ENTRE OS ÚNICOS ANTES E DEPOIS DÊLE.
A beautiful rendition. A lot of listeners may not know this, but Sir Charles was a fine oboist in his young days, indeed was Principal Oboe in the Sydney Symphony for a while.
Magnifica gioia di vivere, senza strepiti, solo una sana, intima, contagiosa inclinazione al sorriso, alla soddisfazione creativa naturale, come un raggio di sole, il respiro di Dio, che ogni tanto suggerisce qua e la qualche spunto di ingegno supremo....
Never mind the unreachable quality of the music. Canon, Sony, Panasonic, Leica et al, are still to come up with a camera able to take a picture with the luminous quality of that painting. And here we are in the 21st century so inanely confident of our achievements.
This is the first Mozart piece where one part is written in the key of 5 flats. It's the first trio of the 2nd menuetto, in Bb minor. Usually Mozart never wrote in keys with more than 3 key markings.
No it is not perfection: This is Mozart hard at work to make the woodwind do what he wants them to. Strings are not a problem, because he and Haydn knew all about them. The tempered piano also not a problem - Bach had solved that. But the woodwind!! That what he presented was somehow written by God? No, or God needed a lot of hard work and all the help he could get. There are lots of fragments for woodwind where he works with Anton Stadtler to see what the clarinette can actually do. His brother was specialised on the basset horn - which is more akin to the cello.
As close to perfection as we'll likely ever here in our lifetime or thereafter. That's the hallmark of Mozart's music. Balance, inventiveness and endless, effortless melodies. No other composer was so prolific. Doesn't sound like he struggled to create a masterpiece to me.
@@carsonphillips524 I agree Mozart was very much inspired and it flowed, but yes: it no doubt took INTENSE concentration. Supreme genius. An utterly amazing output.
@@frankl1175 Mozart was poisoned to death in a ritual murder that took place over at last one year. His death was calculated and he knew it. He realized he was writing the requiem for himself.
Having listened to Record Review today on Radio 3 comparing versions of this work, there was no mention of this performance (unless I missed it). As a teenager in the early 50's this was only my second foray into the age of LP with the RIAS Ensemble on the Telefunken label. The only alternative at the time was Furtwangler on 78's - this did get a mention. A favourite work of mine ,I have listened to many versions over the last sixty five years and can honestly say that this performance by Mackerras is hugely satisfying. His tempi are spot on . I have it on CD just in case it gets taken off You Tube!
My grandmother was a piano teacher she introduced me to the classic composer's when I was about 5 I remember going to the San Francisco music conservatory for exams we went to see the nutcracker at about 6 started taking lessons on clarinet at 7 that ws 63 years ago still play love it now more than ever, classical music is brain food and it's good for your soul also! Playing this adagio still gives me chills after al these years.
The rest of the story is worth knowing. (...) Serenades and divertimenti scored for wind instruments only enjoyed great popularity in Vienna during the last quarter of the 18th century. In 1782 the Emperor Joseph II engaged an octet of wind players as a permanent ensemble to provide entertainment at court and ceremonial music on public occasions. The Viennese aristocracy followed his example, and within a few years there had arisen a considerable demand quickly, not only original compositions but also many arrangements were produced - above all, operatic melodies which were popular at the time were adapted for "Harmonie", the "imperial" ensemble consisting of two oboes, two clarinets, two horns and two bassoons.Mozart, who had moved to Vienna in 1781, responded to the specific Viennese requirement by writing the Serenade in C minor, K.388 (384a) in 1782. There was evidently an entirely differen intention behind the composition of his last work in this genre, the Serenade in B flat, K.361 (370a).The symphonic features of this serenade are significant, for they have nothing in common with the symphonic character of other works of the time in this genre. The slow introduction to the first movement already suggests the work's serious nature and reveals an uncommon strenght of creativity purpose belonging to the expressive sphere of "serious" music by Mozart. (DG S 2532089-JC)
19:31 “On the page it looked.. nothing. The beginning simple, almost comic. Just a pulse - bassoons, basset horns - like a rusty squeezebox. And then, suddenly, high above it - an oboe.. a single note, hanging there unwavering. Until, a clarinet took it over.. sweetened into a phrase of such delight..”
Nice performance by Mackerras and the Orchestra of St Luke's in NYC. Although the Adagio gets all the attention it is only a small part of what makes K. 361/370a great. This jewel has many facets indeed . . .
Okay I'll try to do the speech from memory... "On the page it looked... nothing!... The beggining simple, almost comic. Just a pulse, bassoons, basset horns. Like a rusty squeeze box. And then... suddenly... high above it - an oboe. A single note, hanging there, unwavering. Until, a clarinet took it over. Sweetened it into a phrase of such delight. This wasn't the music of a performing monkey. This was music I've never heard. Filled with such longing. Fuch unfullfilable longing. It seemed to me I was hearing the voice of God..." I think I messed something up, but I'm pretty sure the beggining is somewhat correct...
Yes! Near enough. An extraordinary piece of script-writing even by the standards of that film's extraordinary script. And F. Murry Abraham does it so perfectly . . . . .
Thanks - yes - absolutely; but listening to Richter (third, sotto voce, extract in the Monsaigneon documentary - from the slow movement of Schumann concerto) makes me regret he did not love Romantic music more...
1:42 , 28:45 (my personal favourite), 33:29 don't mind me, I'm just leaving here for my reference At exactly 19:30 It's like everything in the world is still... No one moves without the permission of the one...
