Composed two months before Mozart’s death, the Clarinet Concerto K. 622 marks the beginning and climax of clarinet literature. It set standards, was never equaled, and became the undisputed landmark on which Weber, Strauss, Debussy and Busoni guided themselves. Mozart masterfully exploited the particular sound quality of the instrument and the various timbres of its registers to produce a work of ethereal beauty and lyrical elegance. The Vienna Philharmonic conducted by Leonard Bernstein lives up to its usual high standard in this interpretation of “its” Mozart. Incidentally, the soloist Peter Schmidl, who has been solo clarinetist of the Vienna Philharmonic since 1968, is the son and grandson of former solo clarinetists of this same orchestra!
Mozart, Violin Concerto No.4 in D major, K. 218
The violin concertos K. 211, 216, 218 and 219 were all composed within a few months, between June and December 1775, while Mozart was in the employ of the Archbishop of Salzburg. K. 218 opens with a long orchestral introduction after which the soloist introduces new themes that are developed with virtuoso elements such as trills, arpeggios and pizzicati. The Andante cantabile stands out for its poetic and intensely lyrical violin melodies. The final movement is an imaginative fusion of rondo and sonata first-movement form. The entire work dazzles with its bravura writing that makes it so believed among soloists. After having devoted himself to Baroque music for many years, Nikolaus Harnoncourt began turning increasingly to the orchestral works of Mozart in the 1980s. Here, too, Harnoncourt’s views differed radically from those of traditional Mozart reception. For him, Mozart is “the most romantic composer of all”, his music “dramatic, dynamic, often strikingly and exceedingly emotional”. In Gidon Kremer, Harnoncourt found a partner who shared his views. The German-Russian violin virtuoso has also sought his own path in his Mozart interpretations. In 1970 the then 23-year-old virtuoso attained the first peak of his career by winning the first prize at the International Tchaikovsky Competition in Moscow. He has since become one of the most sought-after violinists in the world. It should also be noted that the Vienna Philharmonic, celebrated for its natural and graceful Mozart style, initially opposed Harnoncourt’s unconventional concepts. However, the orchestra was soon won over by the unusual stylistic approach often concertizes with Harnoncourt today.
Mozart, Violin Concerto No.5 in A major, K. 219 “Turkish”
The violin concertos K. 211, 216, 218 and 219 were all composed within a few months, between June and December 1775, while Mozart was in the employ of the Archbishop of Salzburg. The Violin Concerto No. 5 is the most refined and accomplished of Mozart’s early works for this instrument. It explores all the resources of the violin and integrates the orchestra much more thoroughly and organically into the concerto structure than in the previous works. A particular original touch is the Adagio entrance of the violin after the traditional Allegro introduction by the orchestra. The slow movement unfolds a variety of modulations in minor which give the movement a tragic touch. The last movement is beloved above all for its minor-mode “Turkish” or “Hungarian” episode, with marked leaps and basses which hit the strings with the wood of the stick – a delightful idea that comes at the close of what is arguably Mozart’s most popular violin concerto. After having devoted himself to Baroque music for many years, Nikolaus Harnoncourt began turning increasingly to the orchestral works of Mozart in the 1980s. Here, too, Harnoncourt’s views differed radically from those of traditional Mozart reception. For him, Mozart is “the most romantic composer of all”, his music “dramatic, dynamic, often strikingly and exceedingly emotional”. In Gidon Kremer, Harnoncourt found a partner who shared his views. The German-Russian violin virtuoso has also sought his own path in his Mozart interpretations. In 1970 the then 23-year-old virtuoso attained the first peak of his career by winning the first prize at the International Tchaikovsky Competition in Moscow. He has since become one of the most sought-after violinists in the world. It should also be noted that the Vienna Philharmonic, celebrated for its natural and graceful Mozart style, initially opposed Harnoncourt’s unconventional concepts. However, the orchestra was soon won over by the unusual stylistic approach often concertizes with Harnoncourt today.
Mozart, Kyrie in D minor, K.341
The Vienna State Opera Chorus’s All Saints’ Day concert has become an institution in Vienna. Although the superbly homogeneous and subtly shading chorus plays the most important role throughout this concert, the orchestra also unfolds its warm and colorful and, at times, forceful personality. The concert in which this work was recorded took place on All Saints’ Day 1986 under the musical direction of Claudio Abbado. Mozart’s Kyrie in D minor K. 341 is a monumental torso written most likely in Vienna in 1788. It dispenses with all traditional restrictions and conventions of church music; for example, it contains no solo vocal parts, includes clarinets and four horns for the first time in Mozart’s sacred music, and prefigures the tragic solemnity of the Requiem with the use of the same key of D minor.
Mozart, Aria of the Angel from “Funeral Music”, K. 42
The “Grabmusik” (Funeral Music) K. 42 was composed in 1767, when Mozart was 11 years old. Its style reflects the Italian influence predominant in church music at that time. The Vienna State Opera Chorus’s All Saints’ Day concert has become an institution in Vienna. Although the superbly homogeneous and subtly shading chorus plays the most important role throughout this concert, the orchestra also unfolds its warm and colorful and, at times, forceful personality. The concert in which this work was recorded took place on All Saints’ Day 1986 under the musical direction of Claudio Abbado. The soloist here is the Finnish soprano Karita Mattila, whose “splendid timbre” was singled out by the reviewer of Vienna’s leading daily “Die Presse.”
Mozart, Laudate Dominum, K. 339
The “Laudate Dominum” is part of the “Vesperae solennes de confessore” K. 339, written in Salzburg in 1780. The strikingly sensual beauty of the long soprano cantilena, highlighted by the filigree of the violin melody and supported by the rich bassoon tone, has undoubtedly been responsible for the enormous popularity this work has always enjoyed. The Vienna State Opera Chorus’s All Saints’ Day concert has become an institution in Vienna. Although the superbly homogeneous and subtly shading chorus plays the most important role throughout this concert, the orchestra also unfolds its warm and colorful and, at times, forceful personality. The concert in which this work was recorded took place on All Saints’ Day 1986 under the musical direction of Claudio Abbado. The soloist here is the Finnish soprano Karita Mattila, whose “splendid timbre” was singled out by the reviewer of Vienna’s leading daily “Die Presse.”
Mozart, Quintet for Piano and Wind Instruments in E flat major, K. 452
Mozart, Symphony No.34 in C major, K. 338
Filmed mainly in Vienna’s splendid “Musikvereinssaal,” the Mozart symphonies conducted by Karl Böhm are all interpreted by one of the world’s foremost orchestras, the Vienna Philharmonic Orchestra, whose principal conductors have included Wilhelm Furtwängler, Bruno Walter, Herbert von Karajan, Claudio Abbado and, of course, Karl Böhm. “Thanks to Bruno Walter’s exemplary performances, particularly of Mozart’s works, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart.” (Karl Böhm) After his trip to Paris in 1778, Mozart spent only two and a half more years in Salzburg before leaving the service of the hated Prince Archbishop forever. During this period, his self-confidence seems to have grown considerably, if we are to judge from the bold, ambitious Symphonies K. 318, 319 and 338 that were the last he wrote in Salzbug before settling in Vienna as a freelance musician. Written in the brilliant, formal key of C major, the Symphony has a grand, majestic flow. The vigorous first movement is followed by a graceful, rococo-like Andante for strings and bassoons. The work closes with a lilting Allegro vivace in a tarantella rhythm. Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Böhm’s first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his autobiography, Böhm wrote that “Richard Strauss revealed to me the ultimate secrets of this, in my opinion, greatest of all musical geniuses, Mozart.” Böhm’s discovery of these secrets transformed his Mozart interpretations into unforgettable events.
Mozart, Symphony No.35 in D major, K. 385 “Haffner”
Filmed mainly in Vienna’s splendid “Musikvereinssaal,” the Mozart symphonies conducted by Karl Böhm are all interpreted by one of the world’s foremost orchestras, the Vienna Philharmonic Orchestra, whose principal conductors have included Wilhelm Furtwängler, Bruno Walter, Herbert von Karajan, Claudio Abbado and, of course, Karl Böhm. “Thanks to Bruno Walter’s exemplary performances, particularly of Mozart’s works, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart.” (Karl Böhm) “I will have to give up my nights to it,” wrote Mozart to his father in 1782 upon learning of an important new commission: to write a serenade for the ennoblement of Mayor Sigismund Haffner of Salzburg. Away at last from Salzburg, having just achieved success in Vienna with his “Entführung aus dem Serail,” and about to marry Constanze, Mozart must have been in an effervescent mood. Some of his good spirits obviously went into the serenade, which he transformed a year later into a four-movement symphony for a concert at the Burgtheater in Vienna, which was attended by the Emperor. Although Mozart wrote that “the first Allegro must be done with great fire, and the last should go as fast as possible,” he might have reconsidered his words had he been familiar with the demonic tempi of some 20th-century conductors! Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Böhm’s first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his autobiography, Böhm wrote that “Richard Strauss revealed to me the ultimate secrets of this, in my opinion, greatest of all musical geniuses, Mozart.” Böhm’s discovery of these secrets transformed his Mozart interpretations into unforgettable events.
Mozart, Symphony No.36 in C major, K. 425 “Linz”
Mozart had taken his bride Constanze to visit with his father and sister in Salzburg. On the way back to Vienna, they passed through Linz, where lived a Count Thun, who asked the young couple to his palace and entertained them royally. He also asked Mozart to write a new symphony for a private concert he had planned for the fifth day after their arrival. On 31 October 1783 Mozart wrote to his father: “On Thursday, November 4th, I am going to give a concert in the theater, and since I haven’t a single symphony with me, I am up to my ears writing away at a new one which must be finished by then.” In spite of the lively and sociable atmosphere in which it was written, the “Linz” Symphony is more than merely playful or sentimental society music of the kind that had been traditional in symphonies up to then. New emotions of manly fire and thoughtful melancholy break through the polite restraints. The “Linz” Symphony is the earliest in which Mozart introduces his first movement with a slow passage of the kind Haydn had used for many years. This live recording was made at the “Grosser Musikvereinssaal” in Vienna in 1975. Karl Böhm led the Vienna Philharmonic Orchestra.