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, Piano Concerto in G major, K.453, and Ravel, Menuet sur le nom de Haydn (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. 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, Serenade in D major, K.100 with March K.62 (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. The soloists in the Serenade are Clara Dent (oboe) and Josef Sterlinger (horn).

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, 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.

Mozart, String Quartet in G major, K. 387 (Mozartwoche 1998)

Mozart, who had been profoundly moved by Haydn’s String Quartets op. 33, composed these quartets between 1782 and 1785 and dedicated them to his revered friend Joseph Haydn with the words: “Here they are then, O great man and dearest friend, these six children of mine. They are, it is true, the fruit of long and laborious efforts¿” The Hagen Quartet, consisting of the siblings Lukas, Veronika and Clemens Hagen along with the violinist Rainer Schmidt, attracted great attention and scored impressive successes while its members were still students at the Salzburg Mozarteum. Their international career began with their appearance at the Lockenhaus Chamber Music Festival in 1981. The quartet is now internationally known for its inspired performances, especially of works by Mozart.

Mozart, String Quartet in D minor, K. 421 (Mozartwoche 1998)

Mozart, who had been profoundly moved by Haydn’s String Quartets op. 33, composed these quartets between 1782 and 1785 and dedicated them to his revered friend Joseph Haydn with the words: “Here they are then, O great man and dearest friend, these six children of mine. They are, it is true, the fruit of long and laborious efforts¿” The Hagen Quartet, consisting of the siblings Lukas, Veronika and Clemens Hagen along with the violinist Rainer Schmidt, attracted great attention and scored impressive successes while its members were still students at the Salzburg Mozarteum. Their international career began with their appearance at the Lockenhaus Chamber Music Festival in 1981. The quartet is now internationally known for its inspired performances, especially of works by Mozart.