The former “Camerata academica Salzburg” was renamed simply “Camerata Salzburg” in 2001. It was founded in 1951 by Bernhard Paumgartner, who was its head and mentor for many years. From 1978 to 1997 its artistic director was Sándor Végh and in 1997 Roger Norrington was appointed principal conductor of the ensemble. The Camerata Salzburg can be heard every year at the Salzburg Mozartwoche and Salzburg Festival. Alexander Janiczek, who conducts this concert, comes from Salzburg and has been the concertmaster of the Camerata Salzburg since 1991. The soloist is Paul Gulda. This work, together with its fellow pieces K. 450 and 451, marks the beginning of an entirely new concerto concept, one that made great demands on the performer and whose aim was the synthesis of the traditional concerto form and the symphony. This is brilliantly illustrated in K. 453 by the totally new importance given to the orchestra. It no longer merely accompanies the solo part and highlights the formal contours, but develops its own unique and colorful personality, characterized above all by the poignant use of the woodwinds. The solo part becomes more and more the soul of the composer, expressing his innermost feelings and rejecting technical brilliancy for its own sake. Mozart thus clears the way for the intensely personal concerto form of the 19th century, which, incidentally, will make it practically impossible for the soloist to conduct at the keyboard, as he had until then.
Mozart, Symphony No.28 in C major, K.200 (Mozartwoche 1999)
The former “Camerata academica Salzburg” was renamed simply “Camerata Salzburg” in 2001. It was founded in 1951 by Bernhard Paumgartner, who was its head and mentor for many years. From 1978 to 1997 its artistic director was Sándor Végh and in 1997 Roger Norrington was appointed principal conductor of the ensemble. The Camerata Salzburg can be heard every year at the Salzburg Mozartwoche and Salzburg Festival. Alexander Janiczek, who conducts this concert, comes from Salzburg and has been the concertmaster of the Camerata Salzburg since 1991. Like the “Little” G-minor Symphony, K. 200 is also one of the early “Salzburg” symphonies. Its originality places it on a par with the G-minor work. The onward-rushing, sharply profiled theme prefigured an evolution which led to a more individual characterization of the melodies and to a more thorough exploitation of their combinative possibilities. While the muted strings and “sigh” motifs of the Andante point to techniques Mozart was to perfect in later works, the final sprightly Presto recalls the structure of the opening movement, thus rounding off the work in an admirable fashion.
Mozart, Serenade in D major, K. 185 “Antretter Serenade” and March K. 189 (Mozartwoche 1998)
The Camerata Academica Salzburg was founded in 1951 by Bernhard Paumgartner, who was the ensemble’s mentor for many years and secured its extraordinary reputation. Sándor Végh was the artistic director of the chamber orchestra from 1978 to 1997, and since then the ensemble has been in the hands of Sir Roger Norrington. Alexander Janiczek, who conducts this concert and plays the solo violin, was born in Salzburg and has been the concertmaster of the Camerata Academica Salzburg since 1991. This recording was made in January 1998 during the 1998 Mozartwoche in Salzburg.
Kozeluch, Bassoon Concerto in C major (Mozartwoche 1998)
The Camerata Academica Salzburg was founded in 1951 by Bernhard Paumgartner, who was the ensemble’s mentor for many years and secured its extraordinary reputation. Sándor Végh was the artistic director of the chamber orchestra from 1978 to 1997, and since then the ensemble has been in the hands of Sir Roger Norrington. The bassoonist Milan Turkovic is one of the few internationally known bassoon soloists. He was solo bassoonist of the Vienna Symphony until 1984 and has since been devoting himself exclusively to his solo activity. This recording was made in January 1998 during the Mozartwoche in Salzburg.
Mozart, Divertimento in D major, K. 205 (Mozartwoche 1998)
The Camerata Academica Salzburg was founded in 1951 by Bernhard Paumgartner, who was the ensemble’s mentor for many years and secured its extraordinary reputation. Sándor Végh was the artistic director of the chamber orchestra from 1978 to 1997, and since then the ensemble has been in the hands of Sir Roger Norrington. Alexander Janiczek, who conducts this concert and plays the solo violin, was born in Salzburg and has been the concertmaster of the Camerata Academica Salzburg since 1991. This recording was made in January 1998 during the 1998 Mozartwoche in Salzburg.
Irrfahrten III: Rex Tremendus (Mozart 22)
The Irrfahrten (Odysseys) trilogy comprises three independent, self-contained performances that are motivically interwoven into a compelling whole through a great variety of references. Various artistic genres – music, theater, dance and video – are fused into an original form of music theater that could very well point to the future. The trilogy was conceived by Joachim Schlömer, a noted dancer, choreographer and director. He sees his project as the “odyssey of an artist from external control to self-determination.” (Schlömer) This concerns not only Mozart himself, but also the artist in general, and, by extension, everyone who has overcome a crisis in their life to achieve their personal freedom. At the beginning of the trilogy is the twelve-year-old Mozart’s first opera buffa, “La finta semplice” (The Make-Believe Simpleton), a full-length opera with commedia dell’arte-style characters. “The music,” says Schlömer, “tells of wanting something – even if the characters still don’t really know what they want.” The second Odyssey, “Abendempfindung” (Evening Sensation), a pasticcio of Mozart arias, songs, instrumental pieces (including some for the rare and evocative glass harmonica) and letters. The great Ann Murray is the featured performer here. The third Odyssey, “Rex tremendus” presents a thought-provoking combination of two opera buffa fragments, “Lo sposo deluso” and “L’oca del Cairo,” along with various unfinished pieces and fragments from Mozart’s last work, the Requiem. It represents the artist’s ultimate liberation from the restrictions and conventions of society, his farewell from the world, in total darkness… Schlömer on his Odysseys: “It is about the path the artist follows from his entrance into adult life to a period of artistic crisis, comparable to the midlife crisis we all go through, and on to a fragmentation and liberation from all interpretation of the artist’s activity.” Irrfahrten / Odysseys is one of the most illuminating productions of the Mozart 22 cycle, one that makes Mozart’s genius shine in all of its facets.
Irrfahrten I: La Finta Semplice (Mozart 22)
The Irrfahrten (Odysseys) trilogy comprises three independent, self-contained performances that are motivically interwoven into a compelling whole through a great variety of references. Various artistic genres – music, theater, dance and video – are fused into an original form of music theater that could very well point to the future. The trilogy was conceived by Joachim Schlömer, a noted dancer, choreographer and director. He sees his project as the “odyssey of an artist from external control to self-determination.” (Schlömer) This concerns not only Mozart himself, but also the artist in general, and, by extension, everyone who has overcome a crisis in their life to achieve their personal freedom. At the beginning of the trilogy is the twelve-year-old Mozart’s first opera buffa, “La finta semplice” (The Make-Believe Simpleton), a full-length opera with commedia dell’arte-style characters. “The music,” says Schlömer, “tells of wanting something – even if the characters still don’t really know what they want.” The second Odyssey, “Abendempfindung” (Evening Sensation), a pasticcio of Mozart arias, songs, instrumental pieces (including some for the rare and evocative glass harmonica) and letters. The great Ann Murray is the featured performer here. The third Odyssey, “Rex tremendus” presents a thought-provoking combination of two opera buffa fragments, “Lo sposo deluso” and “L’oca del Cairo,” along with various unfinished pieces and fragments from Mozart’s last work, the Requiem. It represents the artist’s ultimate liberation from the restrictions and conventions of society, his farewell from the world, in total darkness… Schlömer on his Odysseys: “It is about the path the artist follows from his entrance into adult life to a period of artistic crisis, comparable to the midlife crisis we all go through, and on to a fragmentation and liberation from all interpretation of the artist’s activity.” Irrfahrten / Odysseys is one of the most illuminating productions of the Mozart 22 cycle, one that makes Mozart’s genius shine in all of its facets.
Irrfahrten II: Abendempfindung (Mozart 22)
The Irrfahrten (Odysseys) trilogy comprises three independent, self-contained performances that are motivically interwoven into a compelling whole through a great variety of references. Various artistic genres – music, theater, dance and video – are fused into an original form of music theater that could very well point to the future. The trilogy was conceived by Joachim Schlömer, a noted dancer, choreographer and director. He sees his project as the “odyssey of an artist from external control to self-determination.” (Schlömer) This concerns not only Mozart himself, but also the artist in general, and, by extension, everyone who has overcome a crisis in their life to achieve their personal freedom. At the beginning of the trilogy is the twelve-year-old Mozart’s first opera buffa, “La finta semplice” (The Make-Believe Simpleton), a full-length opera with commedia dell’arte-style characters. “The music,” says Schlömer, “tells of wanting something – even if the characters still don’t really know what they want.” The second Odyssey, “Abendempfindung” (Evening Sensation), a pasticcio of Mozart arias, songs, instrumental pieces (including some for the rare and evocative glass harmonica) and letters. The great Ann Murray is the featured performer here. The third Odyssey, “Rex tremendus” presents a thought-provoking combination of two opera buffa fragments, “Lo sposo deluso” and “L’oca del Cairo,” along with various unfinished pieces and fragments from Mozart’s last work, the Requiem. It represents the artist’s ultimate liberation from the restrictions and conventions of society, his farewell from the world, in total darkness… Schlömer on his Odysseys: “It is about the path the artist follows from his entrance into adult life to a period of artistic crisis, comparable to the midlife crisis we all go through, and on to a fragmentation and liberation from all interpretation of the artist’s activity.” Irrfahrten / Odysseys is one of the most illuminating productions of the Mozart 22 cycle, one that makes Mozart’s genius shine in all of its facets.