Wolfgang Amadeus Mozart – Die Zauberflöte

THE 270th ANNIVERSARY OF W. A. MOZART’S BIRTH

★★★★★

   Mozart's operatic works as a collection occupy a privileged place in the history of the genre. The composer's genius was fully reflected here, just as in his symphonies, concertos, chamber works, and religious music. Over the course of his creative life, the composer changed his attitude to existing operatic forms, combining various tendencies and opposing solutions to achieve the classical form of opera as a synthesis of the genre in his latest operas. Composed in 1787, Don Giovanni, with a libretto by Lorenzo Da Ponte is one of Mozart's most recognized achievements. In this dramma giocoso one can notice the unique results of combining opera buffa and opera seria. His last operas are opera seria La clemenza di Tito composed in 1791 to a libretto by Pietro Metastasio and Caterino Mazzolà and the Singspiel Die Zauberflöte (The Magic Flute), composed the same year to a libretto by Emanuel Schikaneder. Collaboration with outstanding librettists allowed him to establish formal assumptions that remained fresh for many decades, becoming the foundation of formal solutions used by Romantic composers.

   Mozart's operas have another feature that should not escape the attention of a sensitive listener. The means by which Mozart enhances the dramatic expression and illustrates the attitudes and aspirations of the characters constitute a constantly expanding catalog of the devices of classical music. This became an important element of semantics after the abandonment of the Baroque system of musical rhetoric. And although subsequent composers chose the means of expression more or less individually, Mozart's works are so clear that they can be a great way to penetrate the world of musical meanings. While instrumental music remains an abstraction up to a certain point, the semantic framework of every opera is the libretto. The Enlightenment ideas present in the dramatic work of librettists determine the situation where in Mozart's operas we receive a fundamental set of musical semantic means. The 22 operas composed by Mozart, ranging from simple Singspiels to complex operas, are a mirror reflecting both the era of Viennese classicism and the extraordinary path of innovation of the brilliant composer. The eight operas that Mozart composed in the last decade of his life have permanently entered the repertoire of world opera houses.

Wolfgang Amadeus Mozart – Die Zauberflöte (1986)

   The position of The Magic Flute, Mozart's last opera, is a phenomenon that can only be understood as the result of the creator's brilliant intuition. From the point of view of form, it is a Singspiel. On the symbolic level, it is a lecture on the Masonic vision of the world, the system of values, ​​and the role played in it by aware and properly prepared individuals. Behind the simple, uncomplicated form of the Singspiel, behind the fairy-tale story of love that overcomes adversity, there is an interesting explanation of Masonic ritual and symbolism. To save Pamina, Prince Tamino undergoes tests of silence, fire, and water, and finally is initiated into the Temple of Wisdom. This opera can be perceived at the same time as a children's fairy tale and as a philosophical parable. All this makes it one of the most popular works in the history of the genre, both in stage productions and on phonographic releases.
   The series of major recordings of The Magic Flute begins with the Berliner Philharmoniker recording of 1937, conducted by Beecham. Later came post-war recordings: a live recording from Salzburg conducted by Furtwängler in 1949, and a Viennese recording by Karajan published the following year. It's also worth mentioning the very interesting Rome recording from 1953 conducted by Karajan and sung in Italian. In 1954, Fricsay recorded The Magic Flute for Deutsche Grammophon. Ten years later, in 1964, two great performances were issued almost simultaneously: Klemperer’s rendition for EMI, and Böhm’s for Deutsche Grammophon. The following decade brought recordings conducted by Suitner (ETERNA 1970), Sawallisch (EMI 1973), and Karajan (DG 1980). It would be difficult to single out the best performance—each is unique in its own way. Any work of genius can be interpreted in many ways. At the center of this balance between classical approaches and more contemporary visions of Mozart's music is The Magic Flute, recorded in 1984 as a co-production between the German label Eterna and the Dutch company Phonogram International B.V. The recordings were made at the Lucaskirche in Dresden with German musicians. That same year, the three-disc album was released under the Philips label in the Netherlands. In 1986, Eterna released a Direct Metal Mastering version of the album for the East German market.
   The artistic value and the quality of the pressing make this edition highly sought after, even despite the passage of 40 years. This is because the recording conducted by Colin Davis can be considered exemplary in many respects, achieving a balance between dramatic elements and classical form. Two words come to mind when describing the fundamental characteristics of this recording: elegance and simplicity. Davis conducts the Staatskapelle Dresden in a manner far from routine, yet resists natural emotion, resulting in a greater subtlety of sound and a richness of orchestral color. Against the backdrop of a vivid, balanced orchestra, the solo parts of the characters, sung and spoken, build a familiar fairy-tale narrative, revealing additional meanings and significance. Among the stars of this recording are Kurt Moll (Sarastro), Luciana Serra (Queen of the Night), Margaret Price (Pamina), Peter Schreier (Tamino), Mikael Melbye (Papageno), and Maria Venuti (Papagena), as well as Theo Adam and Armin Ude (priests) and many more. Ultimately, this recording is a compelling story about character development and the maturation of values. Highly recommended with the highest possible rating – a full complement of stars.

Mozart — Requiem — Herbert von Karajan

★★★★★

   The story of one significant element can be nice perspective to see the whole. The same way performing Mozart’s Requiem and positioning this work in public memory can be interesting survey into dynamics of the western culture of last two centuries. This legendary work was performed as classic position with developing knowledge on how it should be executed to find most effective proportions or reinterpreted to find what we have lost from original Mozart’s idea and what just part of performing tradition is. Some information on next generations’ attitude against classicism can be traced by analyzing various attempts of completing the full cycle of this funeral mass. Phonographic recordings technology delivered many records being plentiful source for such research, but its accessibility changed the rate of cultural transformations.
   In the fast growing market of classical recordings in late fifties and early sixties basic works were recorded by many orchestras creating the catalogue of most expected monuments of music history. Mozart’s Requiem was one of most popular works every label ought to have in print. In catalogues of most active record companies there were more than one recordings of this popular work. One of famous renditions was published by Deutsche Grammophon Gesellschaft in 1962 and was signed by one of most active artists of this time, Herbert von Karajan. This is also one of most milestones in the career of the conductor. Recording session of Mozart’s Requiem took place in 1961. Herbert von Karajan conducted Berliner Philharmoniker, the orchestra he was leading from 1954 and Wiener Singverein working under direction of Reinhold Schmid. Soloists were soprano Wilma Lipp, alto Hilde Rössel-Majdan, tenor Anton Dermota and bass Walter Berry. Organ parts were played by Wolfgang Meyer.

Herbert von Karajan — Mozart — Requiem (1962, reissue 1977) 

   Recording Requiem with Berliner Philharmoniker Karajan had already huge experience leading most demanding works. He was famous for his interpretations of large-scale works including groundbreaking performances of Richard Wagner’s operas at the Bayreuth Festspielhaus. In his early fifties he was one of most recognizable European conductors but it was his recordings in next decades what made him one of the greatest conductors ever recorded. In Requiem recorded for DGG he created vision of most romantic, dark reading of Mozart’s missa pro defunctis. Fragments finishing this work set by Franz Xaver Süssmayr are repeating musical material from those composed by Mozart. This makes the work more cohesive but also makes its cyclic construction less ranging. The most common way of challenging this deficiency was to reduce emotions to the level referenced to absolute forms of classical era. But this was also the way to skip all composer’s ideas and aspirations. Good conductors were always trying to conciliate elements of the cycle by bringing them together and differentiating as contrasting parts of the cycle. Herbert von Karajan made it in most exquisite manner, balancing elements of this work architecture to achieve effect of perfect classical form, but at the same time creating great amount of formal energy by enhancing powerful contrasts and creating solemn, grave mood with perfectly matched tempos.
   Few years ago I’ve led the cycle of lectures as part of master class for graduates of musical universities. As one of subjects of the history of musical culture course was lecture about history of performing and interpretative priorities traced on basis of recorded music. I’ve analyzed eight various performances of Mozart’s Requiem fragments. I chose only really best ones. And as an experiment, choosing fragments not shown during analysis, I have asked listeners which performance is closest to their idea of Mozart’s work. More than 80% of the group pointed Karajan’s recording as the most appropriate performance of Requiem. I’ve been repeating this experiment with various sets of performances in next year’s few times, always with the same result – Karajan’s 1961 recording in some groups was chosen unanimously. New esthetic trends are highly appreciated, but talking about one definitive rendition listeners still choose most traditional, solemn and profound performance ever. It says by itself. This version is already the element of cultural heritage. The only appropriate rate is five stars.

Wolfgang Amadeus Mozart – The Complete Masonic Music

★★★★✰

   One of interesting facts in biography of Wolfgang Amadeus Mozart is his relation to freemasonry. He was known as active member of the lodge, but in 18th century Europe it was not uncommon. In peak moment of Enlightenment it was really hard to find somebody who was publicly active and did not belong to any freemasonic tribe. In fact almost all significant composers of classical and romantic periods were freemasons. But in case of Wolfgang Amadeus Mozart it was somehow unique. He was devoted to promote in his works freemasonic symbols along with values such as truth, morality and brotherly love. He was recollecting ideas of freemasonry in significant part of his works, also these which were not intended for use in lodge. Probably the most famous example is the opera Die Zauberflöte (The Magic Flute), where Mozart along with librettist Emanuel Schikaneder, who was his lodge brother, created allegoric vision of mankind progression from animalism, through fallacy of religious beliefs, to Enlightenment and rationalism.

   The intellectual content of The Magic Flute is clear, but since sometimes references are much more discrete it is hard to clearly assess many of Mozart’s works as Masonic. The method of selecting works to the collection called Die komplette Freimaurermusik (The Complete Masonic Music) was to take into account only works used in loge or composed for loge commission. Published in 1968 by FSM double album was published the same year also in US under Turnabout label and republished under FSM Vox label (FSM 33 006/7) in 1992 as CD. Unlike some earlier productions, the collection of Masonic music conducted by Peter Maag was definite and complete. The idea was to publish all Mozart’s music connected to Masonic rites by its origins or by tradition. The collection is arranged chronologically.

Wolfgang Amadeus Mozart – The Complete Masonic Music (1968)

   The collection is arranged chronologically. Oldest piece is Psalm 129 “De profundis clamavi” for choir and orchestra KV 93, composed in 1771 when Mozart was 15 years old. Second position is song for tenor and piano O heiliges Band der Freundschaft KV 148, composed in 1772. These early works were composed not for Masonic order but later were adopted for use in the loge. The same with Graduale “Sancta Maria, mater Dei” KV 273. First three recordings on first side of first record were composed before Mozart has become freemason, next few works were clearly written by commission. Canon and Adagio F Major KV 410 for two basset horns and fagot and Adagio B-flat Major KV 411 for two clarinets and three basset horns. Next side is clearly music of freemasonry, two cantatas “Dir, Seele des Weltalls” KV 429 and “Die Maurerfreude” KV 471, Masonic song “Die ihr einem neuen Grade” KV 468 and Maurerische Trauermusik C Minor KV 477 famous as one of the best classical funeral music – all are compositions written intentionally for loge in Vienna.
   Second record comprises series of Masonic lodge vocal music, songs and cantatas and two famous instrumental compositions – Adagio and Fugue C Minor from String Quartet KV 546 and Adagio C Minor and Rondo C Major for Flute, Oboe, Viola, Cello and Celesta KV 617. Peter Maag who was member of Great Loge “Mozart” has prepared these performances for 1966 jubilee celebrations. Singers were tenor Kurt Equiluz, boy soprano Franz Ellmer, tenor Rudolf Resch and baritone Leo Heppe. The main piano and organ accompanist was Kurt Rapf. In chamber performances participated violinists Paul Roczek and Peter Katt, viola player Jürgen Gise and cellist Wilfried Tachezi, flutist Herbert Weissberg, oboist Manfred Kautzky, clarinetists Alfred Rose and Josef Ortner, basset horn players Richard Schönhofer, Erich Webner and Horst Hajek and peter Maag playing celesta. In cantata and orchestral music attended Choir and Orchestra of Wiener Volksoper conducted by Peter Maag. This is unique complete with deep cover information. Five stars, one for information content and four stars for artistic quality of this double album.

Carl Philipp Emanuel Bach Harpsichord Concertos

THE 300th ANNIVERSARY OF CARL PHILIPP EMANUEL BACH'S BIRTH

   Born March 8th, 1714 in Weimar Carl Philipp Emanuel Bach was second son of Johann Sebastian Bach. His father asked his friend and composer Georg Philipp Telemann to be his godfather. Such background was perfect foundation to develop a career of professional musician. He was well educated, studied not only music with his father but also jurisprudence in Leipzig and Frankfurt. Studying law in university was most efficient way to achieve higher social position. It is worth to remember in first half of 18th century musicians without formal education were treated as servants. But the same musicians with university degree were treated like court counselors while doing exactly the same job. In 1738, after receiving the degree, he started his creative career as musician in orchestra of Prince Frederic II, who became the King of Prussia two years later. In rich cultural environment of Frederic the Great’s house Carl Philipp Emanuel Bach was working for next three decades. In 1746 he was promoted for the post of chamber musician. He was friend of poet and dramatist Gotthold Ephraim Lessing and stayed in contact with many prominent artists, poets, scientists gathered around Berlin court and Potsdam Sanssouci palace.
   Time between 1738 and 1768 was most fruitful time of his artistic and personal development. For the role of thirty years period he was called Berliner Bach. His second sobriquet, Hamburger Bach is also connected with place of his work and living, this time with the last twenty years of his career. During his Berlin years Philipp Emanuel was in frequent contacts with his godfather maintaining the lively correspondence with Georg Philipp Telemann who was director of music in the city of Hamburg. Probably before Telemann died in 1767, he appointed his godson to be the successor for his post. In 1768 Carl Philipp Emanuel Bach took in Hamburg the position of his deceased godfather. He was hired as a music director in five main churches and cantor in Johanneum School. This period was fruitful in concert instrumental works and big sacred vocal forms.  He died in December 1788, he composed oratorios like Die Israeliten in der Wüste (1775), Morgengesang am Schöpfungsfeste (1784) and Auferstehung und Himmelfahrt (1787).

Harpsichord Concertos by C. P. E. Bach & W. A. Mozart 

   Carl Philipp Emanuel Bach was known for sensitive style known as empfindsamer Stil. It was typical for esthetics of Sturm und Drang era, manifested with using free harmonics as coloristic element or frequent changes in mood. His position in European music was very high, Joseph Haydn was learning analyzing C. P. E. Bach’s scores, Mozart and Beethoven remembered him as master composer. In Berlin and Hamburg he was widely recognized. He influenced many composers of North German School.
   As the illustration of differences and contacts between North German School of 18th century and Classic Viennese School one can consider the 1975 record comprising three concerti played on original instruments: Concerto E Major for Harpsichord and Strings Wq. 14, Concerto G Major for Harpsichord, two Horns, two Flutes and Strings Wq. 43 No. 5 and Johann Christian Bach’s Concerto D Major for Harpsichord, two Violins and Bass K.107/1 orchestrated by Wolfgang Amadeus Mozart after J. Ch. Bach’s Sonata for Pianoforte Op. 5 No. 2. Soloist in these performances was Trevor Pinnock who was also conducting The English Concert. Record was highly appreciated and republished in many countries. As rewarded with Grand Prix d’Amis Fidelio it was published in Hungarian series under this label. Four stars for this renditions still fresh almost 40 years later.

Cyprien Katsaris in Brussels

   In the crowd of distinguished pianists of the last decades, one has a special position founded on the excellent technique and creative approach. Cyprien Katsaris is the artist with modern sensitiveness for musical semantics and formal construction, gifted with capability to narrative shaping interpretations. This born in Marseille, French-Cypriot pianist is exceptional phenomenon in concert and recorded music. His competence comprises the whole range of pianistic tradition. But what makes him really great artist is a special and very deep understanding of the romantic spirit. His recordings of Liszt, his Chopin recitals, and his virtuoso performances of symphonic works in romantic transcriptions make perfectly clear he is congenial interpreter of Liszt and Chopin music.
   Shortly after his 15th birthday, he debuted in Paris Théâtre des Champs-Élysées performing Liszt’s Hungarian Fantasy which is composer’s arrangement of Hungarian Rhapsody No. 14 for piano and orchestra. The first decade after Cyprien Katsaris’ debut was the time of establishing his virtuoso position and performing experiences of concert pianist. His position has been confirmed by many awards in renowned competitions in 70’s. Among the probably most significant is the title of Prize-winner at the Queen Elisabeth of Belgium International Competition 1972 in Brussels. For this extremely difficult competition he prepared ambitious program. Recorded June 6th, 1972 in Brussels and published by Decca album is valuable document of young Katsaris live performances. 

Cyprien Katsaris in Brussels (1972)

   The Decca album is convincing the virtuoso efficiency and ideal sense of style are qualities he presented since his earliest recordings. It’s significant he chose two sonatas by two composers he consecutively recorded in next decades. The two are also totally different musical worlds Wolfgang Amadeus Mozart and Ferenz Liszt. Mozart’s Sonata B-flat Major KV 333, known also as No. 13, was composed probably in 1783. This three part work is perfect classical style performed with intellectual distance and clever distance. Sweet, well modeled phrases show the perfect balance of interpretation as well as one side of young Katsaris. Last part Allegretto grazioso includes few moments giving artist a chance for expressing some more emotional and personal content than most of classical sonatas. And Cyprien Katsaris made use of this possibility.
   The second side of the record is also the second side of pianistic universe. Sonata B Minor by Franz Liszt is not only one of most difficult works for performing but also for interpretation. Cyprien Katsaris played this huge work with bravery, giving show of piano artistry. Climax of Sonata B Minor in Katsaris interpretation is one of most haunting moments in romantic piano music. This shows how much 21 years old pianist can be mature. He perfectly controlled the sound, tempos, and dynamics and built musical constructions of perfect stability. He was also brave presenting his own renditions. Many evidences one can find in the way he interprets Sonata in B minor by Franz Liszt. These early recordings prove the main value of Katsaris recordings was always the power of his vision and ability to make it universally human experience. This is worth four and a half stars for brave and noble performances opening phenomenal development of this artist.

Gulda / Corea / Harnoncourt – Mozart Piano Concertos

   Friedrich Gulda as a pianist has had powerful and all-embracing artistic possibilities. He was inspired interpreter of great piano cycles both with orchestra and for piano solo. As successful performer of classical piano repertoire and jazz, he was playing concertos with symphony orchestra, jazz bands and artists of world music. On the ground of classical piano music he was recognized as great interpreter of 18th and early 19th century works, from Johann Sebastian Bach to Ludwig van Beethoven. He was also befriending with Chick Corea, one of best jazz pianists and composers who has also classical piano competences. They gave performances together and made some records. These projects became instantly famous as an example of crossover, although for most musicians it is obvious, there is no crossover if music is treated as an art.
   This was always strong tendency to connect jazz with concert music or to consider it later as a part of artistic music. From Gershwin writing Blue Rhapsody and Igor Stravinsky composing for Benny Goodman, who also recorded Mozart Clarinet Concerto, through music of the third stream, Norman Granz’s Jazz at the Philharmonic, to Jacques Loussier, Modern Jazz Quartet and many others playing music of Bach, jazz was always part of modern professional music and professional musicians often reached out for jazz to find the missing part of musical activity. In last decades of 20th century many jazz musicians were performing Mozart’s works. His classical style was perfect for practicing regular forms so it was quite a considerable part of professional training and every musician had some experiences with it. But still it was the sensational event when Friedrich Gulda had invited Chick Corea to give joint performance of Mozart’s Double Piano Concerto.

Gulda / Corea / Harnoncourt are playing Mozart (1983)

   Recorded in Amsterdam Concertgebouw for Teldec label this album includes the perfect example of the jazz musician performing classical repertoire in Concerto for Two Pianos and the Coronation Concerto played by Friedrich Gulda. It was set in 1983, more than decade before the groundbreaking recordings of Mozart’s piano concertos made by Chick Corea with Saint Paul Chamber Orchestra and Bobby McFerrin in 1996 and by Keith Jarrett with Stuttgarter Kammerorchester and Dennis Russell Davies in 1999. In the moment it was astonishing idea to connect Friedrich Gulda and Chick Corea in one Mozart’s Double Concerto. And this duo of piano virtuosi was accompanied by one of best orchestras ever, the Concertgebouw Orchester Amsterdam conducted by Nikolaus Harnoncourt, who at the time was known almost exclusively as the master interpreter of an ancient music on original instruments. With so many stars only a pinch of the discipline and anything else is enough for successful recording. And this performance is much more than anything.
   An inspired and excellent performance of Concerto for Two Pianos E-flat Major KV 365 (316a) shows the power of vibrant cooperation. Bright, vivid phrases of Friedrich Gulda and gentle, calmly articulated answers of Chick Corea build the space for classical form. This is 10th Mozart’s concerto from 1779 and the next one is Concerto D Major KV 537 called Coronation Concerto from 1788. This is No. 26th in Mozart’s catalogue of piano concertos and one of his best works. In Teldec recording Friedrich Gulda builds supreme rendition of Mozart piano ideas with mild and virtuoso clearly sound of the orchestra. Intensity of emotions reminds early romantic music, although it is still classically balanced with musical expression and meanings, cozy in serene moments and rapidly serious in more intellectually fragments. Goulda’s piano is singing not only in Larghetto, but along the whole performance – despite the fact he is murmuring, what was quite normal and in good style on vinyl recordings era. Simplicity of these concertos comes with perfect performances and profound emotional narration.

Mozart – Requiem – Daniel Barenboim

   In the history of music many masterpieces are clearly unappreciated while many are just over-valued. Some works are more significant in public memory than it’s justified by their technical and artistic importance. Some of these works are even not finished. Most famous work by Wolfgang Amadeus Mozart, the legendary Requiem can be seen as a kind of failure. Composer started work with ambitious solutions exceeding stylistic formulas of this time. He probably stopped composing his missa pro defunctis few months before his death. Maybe the romantic legend of Mozart composing Requiem on deathbed has contributed to the consolidation of the myth of the last masterpiece and artistic testament of genius composer. Any of his last concertos, symphonies or operas is finished masterpiece. The fact Requiem is legendary reveals the rules that govern public awareness.
   Only half of musical material for whole requiem mass cycle was completed by Mozart himself. The task of the completion Constance entrusted to his deceased husband’s disciple and friend Franz Xaver Süssmayr who made every effort to finish the work in Mozart’s style. The widow forced Süssmayr to swear, he will not disclose who completed the work. The reason was common. Constance wanted to receive the remaining portion of the agreed remuneration from Count Franz von Walsegg. Although Süssmayr was proficient composer, he was not even close to Mozart’s musical invention and in place of missing fragments he inserted the repetitions of some other fragments. In fact he did the best he could preserve as much of Mozart without destroying his ideas.

Daniel Barenboim – Requiem by W. A. Mozart (1972)

   The effect of Süssmayr’s straight repetitions is weak dramatic tension in later parts of the cycle. The apprentice sacrificed his own ambitions to save the clarity of master’s invention. Such operation gives him a chance to save Mozart’s work. Nonetheless, the best performers can create the balance and develop the deeper dramatics of musical form. There are many internationally acclaimed recordings of Wolfgang Amadeus Mozart’s Requiem D minor KV 626, but the one recorded by Daniel Barenboim with English Chamber Orchestra and John Alldis Choir is the rendition perfectly catching best proportions. Released by EMI His Master’s Voice label in 1972 (C 065-02 246), this is one of most emotionally engaging performances, and probably the one closest to stylistic paradigm of mature classicism of 1790’s.
   Featured part of artistic team in Requiem is choir. Mozart gave choral parts even more weight than Handel whose oratorios were the model for classical composers. Also Chorus lead by John Alldis gives conductor full volume of vocal expression and Daniel Barenboim knows how to use it. English Chamber Orchestra played perfectly which is highly expected considering this orchestra was established to play Mozart’s music. Barenboim had also quartet of brilliant soloists – strong but subtle soprano of Sheila Armstrong, great deep mezzo-soprano of Janet Baker, clearly light tenor of Nicolai Gedda and beautiful lyrical baritone of Dietrich Fisher-Dieskau – all soloists work as one team in a rare classy performance. Every musician here is on his or her place. Barenboim leading perfect choir and perfect orchestra build this performance like it was completed by Mozart himself. The idea of taking the composition as a complete piece of art is good starting point but the way he made this mass sounds so much coherent is the secret of his great artistry.

Mozart – Concertos for 3 and 2 Pianos – Eschenbach, Franz & Schmidt

   Wolfgang Amadeus Mozart wrote two piano concertos for three and for two soloists, both in his early period, before he left Salzburg. First was Piano Concerto No. 7 in F major KV 242 for three pianos and orchestra, second was Piano Concerto No. 10 in E-flat major KV 365. It’s interesting, both were intended for playing by family connected soloists. Piano Concerto No. 7 has been commissioned by Countess Antonia Lodron who was looking for a concerto she was able to play with her two daughters Aloysia and Giuseppa. Mozart finished this concerto in February 1776, but there is also another version for two pianos – the one Mozart rearranged for his own performances in 1780. Piano Concerto No. 10 has been composed for performing by composer himself and his sister Nanerl.
   In whole collection of 27 Mozart’s Piano Concertos, these two sometimes are treated more as curiosity than the works of fully importance. But these are also brilliant, stylish compositions and interesting concert pieces for soloists and for orchestras, even if some parts are clearly showing the intention of creating the work for dilettante taking the first steps on public performances. Maybe both concertos are not the best parts of Mozart’s creative output, even if these works have some popularity, it’s a fact worth to remember. Maybe this is a kind of curiosity, maybe less ambitious works are more popular because of lacking doubtful passages. Maybe it’s just the fact three pianists together are consisting unusual view on philharmonic stage. Whatsoever the reason, these concertos are quite frequently played and recorded.

Eschenbach, Franz, Schmidt – Mozart’s Concertos Nos 7 and 10 (1982)

   Among many recordings of these concertos one is extraordinary as artistic achievement and very interesting as cultural project. This is album released by EMI in 1982 featuring London Philharmonic Orchestra and three German pianists – Christoph Eschenbach, Justus Frantz and Helmut Schmidt. The trio of soloists is as much perfect as it can be. Christoph Eschenbach conducting the orchestra is prominent personality of these renditions. He is multitalented and versatile musician; he’s excellent pianist as well as very good conductor. Eschenbech is great artist known for numerous achievements and various performances as solo and chamber pianist and as successful conductor of most complex symphonic works. Recordings of complete Mahler’s Symphonies he made with Orchestre de Paris in the Mahler’s anniversary years 2010 and 2011 are the perfect example of great artistic ideas and pure creative talent. As conductor and one of soloists Eschenbach joints creative approach with great respect to Mozart’s style. 

   Second person moving these performances is Justus Frantz, artist, teacher, professor in Hamburg Musikhochschule, television personality and well known personage of German music culture. He played many performances of music for two pianos with Christoph Eschenbach. There is strong connection between these two. Christoph Eschenbach was born in 1940 in Breslau (today Wrocław in Poland), Justus Frantz was born 1944 in Inowrocław (then Hohensalza), also in Poland – both born in bad moment and in unhappy places. Hard to say if it is only coincidence, or meaningful historical pattern, but their participation in musical life gives hope for overpassing old partitioning. The chances for cultural development are visible when politics are acting like artists. Even as nonprofessional pianist Helmut Schmidt shows real advance in musical culture. There were many politics playing musical instruments. One of best was Polish pianist Ignacy Jan Paderewski, patriotic activist, statesman, composer and virtuoso famous all over the world. But there are still an army of minor politics playing instruments, writing poems and painting while devastating culture with their political decisions. This is why Helmut Schmidt has rightful place here although this blog definitely is not about politics.

Karajan – Mozart – Symphonies No. 40 & No. 41

   The complete set of symphonic works by Wolfgang Amadeus Mozart can serve as a lesson of classical style, covering full span of its development. Differences between early symphonic works and the output of last year of composer’s life are not only the matter of technical improvements. The changes were related to the progress of artist’s ideology, aesthetics and strengthen the artist’s personality. The last three symphonies – 39th E-flat Major KV 543, 40th G Minor KV 540 and 41st C Major “Jupiter” KV 541 – were completed in summer 1788 in short period of few weeks between July 26 and August 10. After these symphonies Mozart was very active as author of opera and instrumental music, but in following period of composer’s life for over three years there were no more symphony.
   For years many music history scholars supported the thesis Mozart wrote these symphonies without actual chance of concert performance and he has never heard them. Thus they have explained uncommon condensation of musical ideas and novel solutions. So was Alfred Einstein who called this works “appeal to eternity”. New historical works show this was more romantic legend than true. There are a lot of indirect evidences last Mozart’s symphonies were performed and even conducted by Antonio Salieri. One of performances had its place at home of Gottfried van Swieten, but it was so bad, Mozart leave the room. These symphonies were probably played a few times before Mozart’s death. In next two centuries thousands of performances made these compositions part of the core of symphonic repertoire.

Karajan - Mozart – Symphonies No. 40 & No. 41 (1978)

   There are dozens of great renditions of the last two symphonies by Wolfgang Amadeus Mozart. One of them is as much unusual as much appreciated. It was recorded by Herbert von Karajan and Berliner Philharmoniker, the orchestra he was principal conductor since 1954. The recordings published in 1978 are beautiful example of Karajan’s conducting and interpreting style. His renditions were both intellectual and emotional giving many evidences for systematic attitude and personal passion. The value of his interpretations was searching for metaphysical depths of the performed works. Of course, this applies to those compositions that contain such depth. In some cases, Karajan just could not exceed too much the salon elegance of performances. But still even operetta recordings under his baton sound more profound and dramatic.
   Karajan gave here one of most readable interpretation of Mozart’s 40th Symphony. After many renditions trying to close this music in easy serenade esthetics, after some very good performances trying to capture the balance, which was classical pursuance indeed, Karajan’s vision of this work is closer to late Beethoven or romantic symphonic cycles. Only two of Mozart’s symphonies are in minor key, and both in G-minor – first composed in 1773 Symphony No. 25 KV 183, and second from 1788 Symphony No. 40 KV 550, sometimes called “Great”. This key has some special meanings, according to Einstein it was connected with ‘fate’ symbols. There are many different explanations but all include constant opinion this key evokes highly emotional content. Karajan’s interpretation reveals the depths to which these emotions go.
   In last Mozart’s Symphony C Major No. 41 KV 551 is mighty crowning of the cycle. Nicknamed Jupiter, this Symphony is a perfect example of splendid invention, deep expression and therefore it is exhibiting full possibilities of classical style. Bringing it to binary distinctions, it is usually comes to form and content, perfection and emotionalism, dramatic and consolation. Here the various oppositions are in dynamic balance and in culminate modulation in fourth movement Karajan gives so strong impact it’s hard to forget this music was composed in times bursting with the desire for revolution.

Eugene Ormandy conducts Schubert and Mozart

   Eugene Ormandy was one of most active conductors of 20th century. He recorded almost complete of great symphonic repertoire with many most popular works doubled or tripled. Interesting attribute of his discography was unusual interesting towards contemporary symphonic music. For obvious reasons he presented more romantic repertoire than new music, but with superiority of late 19th and 20th century neo romanticism. He was specially priced as interpreter of great symphonic works by Tchaikovsky, Bruckner, Strauss, Mahler and Rachmaninoff. 20th century music was represented inter alia by compositions of Ravel, Prokofiev, Shostakovich, Orff, Nielsen, Sibelius, Hindemith, Webern, Schoenberg. He also gave his rendition of Utrenya by Krzysztof Penderecki. Thank to his sensitivity and musical competences he was also one of most favorite partner for concert soloists. No wonder Ormandy performed and recorded with almost complete list of best piano, violin and cello masters active during half century of his career.
   Many of his performances Ormandy was conducting from memory because he was able to learning fast even most complicated scores. And he didn’t use the baton, making individual contact with every musician the weighty element of his professionalism. As music director of Philadelphia Orchestra, he was conductor of absolute outstanding artistic possibilities and best manners, with indispensable distance and leadership skills. In general in his artistic attitude he was occupying the same positions as Arturo Toscanini who was his friend and most admired master. Opulent sound and gently formed phrases, care for the orchestral sound which has priority over individual expression in opinions of many listeners makes Philadelphia an orchestra of richest sound.

Eugene Ormandy conducts Schubert and Mozart (1968)

   In 1968 Ormandy renewed recording contract with RCA Red Seal label. Recording sessions started immediately. In long series of renditions immortalized on records one can find almost complete history of symphonic music. He recorded very quickly, through excellent preparation and serious accountability. In May 27th and 28th 1968 The Philadelphia Orchestra conducted by Eugene Ormandy recorded Franz Schubert’s Symphony No. 8 “Unfinished” and Wolfgang Amadeus Mozart’s Symphony No. 41 “Jupiter”. These renditions are highly inspired, subordinated to the concept of dramatic development of symphonic form. In this reading Unfinished Symphony shows itself as musical discourse about most dramatic human questions. And there can be no doubts, it is finished as well as Jupiter Symphony.
   The same kind of musical drama is shown in Mozart’s last known symphony. Contrasts between movements, expression and rhythmic differences create sequence of tensions leading to final Allegro molto which is balancing between heroic pathos and dramatic feeling of uncertainty and irrevocable fate. Almost 45 years after it was recorded, these symphonies sound as fresh as if it were recorded at present. Some passages evoke strong impression, the artists were able to capture in these renditions the essence of symphonic form.

Mozart – Requiem – Nikolaus Harnoncourt

After last two centuries of historical and musicological research problem of authorship of Mazart’s missa pro defunctis is still vivid question. Sometimes it looks like the authorship issues were not as much interesting alone as connected to this research question of composers intentions. And this could be the crucial question for almost every artistic event. In this special case intentions are meaningful for investigating what parts are real Mozart’s and what are only styling. Romantic legends say about poisoning composer and creating in last minutes work becoming his artistic testimony. The effect were dozens of solemn, heavy mourning interpretations of always the same Süssmayr’s version. Just like Mozart wasn’t the one who decided about the style of classical era. In last decades of twentieth century raised the whole movement for creating new vision of final Mozart’s oeuvre, by correcting evident mistakes, by playing it on instruments from Mozart’s time or just by interpreting the work more classical than romantic way.

Mozart – Requiem – Nikolaus Harnoncourt (1982)

Important recording of the Requiem was made by Nikolaus Harnoncourt and his orchestra Concentus musicus Wien for Telefunken in 1982. This great rendition was founded on the traditional basis of well known Mozart’s Requiem structure with additions by Franz Xaver Süssmayr but in new and improved instrumentation  by Franz Beyer. Great sound of the orchestra and again Konzertvereinigung Wiener Staatsopernchor are playing the main narrative role. Choir have the full spectrum of dynamics and articulation and its sound is perfectly set in meaningful interpretation. Soloists, Rachel Yakar, Ortrun Wenkel, Kurt Equiluz and Robert Hall are relatively less independent than in other recordings, treated rather as a chamber continuation of the choir part. Anyway these four great voices with this unbelievably precise performance are demarcating new standards of vocal expression. Partly it is also effect of improved sound of instrumental parts. Softly and deeply, tragic consciousness of inevitable death is coming to be listener’s intimate experience. Under Harnoncourt’s baton Requiem is closer to the performing style of Coronation Mass than to many other renditions of this work. When this comes out of knowledge about the style and artistic technology, musicians can follow text as it was open space for many possibilities. But only talented musicians can follow the Mozart’s music in such narrative manner. And maybe this is what makes Harnoncourt’s recording so much exceptional.

Mozart – Requiem – Karl Böhm

It’s well-founded question why last sacred work, messa pro defunctis gained as high popularity as any of other Mozart’s masses never did. What is exceptional in this work, that makes it outdistanced hundreds of great works of this kind. Listening to many other requiem messes composed during span of four centuries from renaissance to classical era it is easy to notice music tries to bring relief and in many cases even express the joy of taking part in eternal life. Even in two centuries after Mozart death there were relatively small number of requiems expressing negative emotions but probably none of so intense tragic effect. No wonder. The faithful Christian interpretation of mess for the dead leads to the conviction of the inevitability of God's will as well as his mercy. This is why, early requiems, especially composed in baroque era by Biber, Lotti, Praetorius, Zelenka or even Fux but also twentieth century settings of mass for the dead e.g. Duruflé and Fauré have this cheerful nature, Mozart’s work uses only as contrasting level for main idea of the cycle. 

In this context the question of Mozart’s faith is inevitable but still many writers take it as fundamentalist assumption of his Catholicism. Just like he never refuse to obey the archbishop of Salzburg Count Hieronymus von Coloredo. Or like Mozart was not engaged in freemasonry. There are even some symbolic connections between Masonic music and Requiem. The Introitus opens with mysterious phases of fagotti and corni di bassetto accompanied by strings and basso continuo. This setting was often used for illustration of the secret or mystery. The problem of composer’s religious views is not easy to solve because too many authors do not distinguish between the quest for truth and their private religious feelings. Artists are in quite different situation. They have full rights to express personal beliefs.

Mozart – Requiem – Karl Böhm (1971)

Among many great recordings of Mozart’s Requiem the legend for decades was the one Karl Böhm recorded with Vienna Philharmonic for the Deutsche Grammophon in 1971. The orchestra and Vienna State Opera Concert Choir were the same as in five years earlier recording by István Kertész for Decca Records but effect obtained by Böhm is quite oposite. He resolved the dilemma of dramatic tension in Mozart’s Requiem and apparent fear of death by balancing elements of horror with cantilena parts, especially for solo voices. He has great group of soloists. Bright soprano of Edith Mathis, dark but open alto of Julia Hamari, lyric tenor of Wiesław Ochman and dramatic bass of Karl Ridderbusch – the whole quartet sounds rich and transparent especially in Tuba mirum where every personality is quite readable and moving and in quartet they sound just phenomenal. Vocal parts are the greatest reward and consolation for the Christian existentialism of this interpretation. Böhm’s rendition of Requiem is extremely traditional, with very slow tempi strengthening the solemn character of the key parts of the work. Just like he was trying like to express, we have no other choice than to surrender and believe in God’s providence and in principles.

Mozart – Requiem – István Kertész

Although this famous work occupies highest, 626th position in Köchel’s Catalogue, Requiem D Minor in fact wasn’t the last composition by Wolfgang Amadeus Mozart. Romantic legends about finishing the work laying in deathbed were probably Constanze’s imaginary to avoid refunding of half payment received in advance for the work, and to collect the rest. The mysterious commissioner occurred to be Count Franz von Walsegg, musical dilettante with ambitions to be composer. He presented compositions bought anonymously from various composers as his own works. Requiem was commissioned for commemorate the anniversary of Count’s wife. But Mozart was really scared of strange contract and said to Constanze, he had the premonition he is writing Requiem for his own funeral. Maybe this is why he put aside unfinished score so many times, composing meanwhile many as great works as operas La clemenza di Tito and Die Zauberflöte or Clarinet concerto A Major.

After Mozart’s death widow was in difficult material situation. She turned to composer’s friend Joseph Leopold Eybler, and after he gave up, she asked her husband’s copyist Franz Süssmayr to finish the piece. Later she created the next floor legend about Süssmayr was Mozart’s student. She also forced him to swear that he never betray that it was him who finished the Walsegg’s commission. In last decades of twentieth century there were several completions of Mozart’s work but Süssmayr’s version is still most popular among many different restorations.

Mozart – Requiem – István Kertész

Born in Budapest István Kertész, one of Holocaust survivors, was great Hungarian orchestral and operatic conductor. He died very young, drowned while swimming in Mediterranean Sea when he was only 43. His untimely death stopped rapidly growing international career. Kertész was internationally renowned for his work with best orchestras and for brilliant recordings for Decca. Legendary recording with Wiener Philharmoniker of Brahms’ Variations on a Theme by Haydn is one of master recordings. He recorded also complete symphonies by Brahms, Dvořák, Schubert and a lots of symphonic works by Mozart, Beethoven, Prokofiev, Ravel, Respighi, Schumann, Shostakovich and many others.
In 1966 Kertész recorded master interpretation of Mozart’s Requiem. Orchestra of Vienna Philharmonic and Vienna State Opera Choir gave great performance. Perfectly set tempos and precise diversified dynamics help to show the power of some rough instrumentation solutions. Great part of this performance is the quartet of soloists Elly Ameling, Marylin Horne, Ugo Benelli and Tugomir Franz. Beautiful voices and musical refinement developed from inspiration of Mozart’s melodic and harmonic order. This performance is pretty much dramatic, full of fear and suffering, yet it is strongly encouraging to accept doubts and reconcile with everything what is both inexplicable and inevitable.

Oleg Kagan and Svyatoslav Richter – Mozart Sonatas for Violin and Piano

Among greatest Russian violinists of the eighties, Oleg Kagan was one with best chances for playing leading role in world of violin, person of great possibilities. He died in 1990, before his 44, in very moment his career became flourished. His live recordings are the testimony of interpreting talent and great artistic consciousness. He was born in 1946 on Sakhalin, learned in Ryga and since he was thirteen in Moscow Conservatory in classes of Boris Kuznetsov and David Oistrakh. In seventies he became playing chamber music with Natalia Gutman and Svyatoslav Richter and this partnership gives him chance for developing of worldwide career.

There are many good records documenting interpreting art of Oleg Kagan. One of them is great is double album with Franz Schubert’s Octet and Two Trios recorded in 1979 and published in 1983. Special position in artist’s discography have live recordings of chamber concertos he took part. One of them is published in 1987 by Melodya recording of the Mozart recital during December Evenings at the Pushkin Fine Arts Museum in Moscow. Oleg Kagan and Svyatoslav Richter played two sonatas for violin and piano of Wolfgang Amadeus Mozart – Sonata B-flat Major KV 378 and Sonata G Major KV 379.

Kagan and Richter – Mozart Sonatas

Notability of this recording is contribution of both members of the duo – Kagan and Richter. Mozart wrote his Sonata B-flat Major as 23-years-old but yet quite mature composer. Two years later it was published as number 4 in set of 6 Sonatas op. 2. And great composer’s stylistic achievement in this compositions is creating musical narration as the bound between instruments. He gave no chance to play this work by one an musicians has to think about both instruments simultaneously, what means listener have to hear their joint appearance the same way. Svyatoslav Richter was one of greatest pianists of 20th century and great interpreter of chamber music. He was genius of musical thinking, legendary performer of hours of orchestral music on piano without previously prepared transcriptions. His solo piano recordings demand the highest attention and in short time I am going to write about this genius again.
This is about Oleg Kagan, great violinist who passed too early, to show what were his real possibilities. His tone, sometimes with strong vibration and firmly drawn phrasing was in a way belonging to post-romantic school. Such strong shaping of Mozart phrases makes its emotional content more expressive and understandable. In Brezhnev era it was compliant to Soviet Union official esthetics – such strongly accented interpretations were better readable for working class and whole society. Sometimes it seamed like he was missing the past of violin glory, trying to renew the style of nineteenth century masters. But while listening his recordings of modern music and 18th century compositions it becomes clear, he is more like romantic virtuoso who is moving towards reconciliation of emotional violin school with modern expectations of intellectual distance and emotional calm. There’s no need to add the performance of Mozart’s Sonatas is great, it’s clear itself.

Daniel Barenboim – Mozart Piano concertos C Major KV 467 and B flat Major KV 595

   After decades of formal and artistic development, when baroque concerti for various keyboard instruments became in Classicism piano concerto, composers understand among many instruments only piano can compete with symphonic orchestra. Successively as orchestra was bigger and stronger in its symphonic power, group of solo instruments was smaller. Concerto for piano and orchestra was always a royal form in creative output of Mozart. Mozart was always searching any possibility of expanding orchestra personnel and intensifying sound possibilities. During his Vienna period he realized some ideas he can’t express in form of symphony, he can as well put into form of piano concerto. It was possible by overtaking by piano a great part of musical narration.
   This strategy has significant consequences. As it was expressed by Cuthbert Morton Girdlestone in his monograph Mozart et ses concertos pour piano (Paris 1939), in his concertos from major Vienna period, Mozart emancipated the orchestra, transforming concerto into voluminous container for variety of emotions and matters. Great examples of this process one can find in piano concertos No 20 D Minor KV 466, No 21 C Major KV 467, No 23 A Major KV 488 and last Mozart’s No 27 B-flat Major KV 595. But it is worth to remember, these are only most popular and every piece of the whole cycle has its unquestionable value.
   In next decades the formal solutions of classic era were adopted by composers creating pre-romantic concertos. Romantic transformations of introduction into orchestral exposition has it’s source in concerti written by Mozart in strictly classical style of Vienna period. The same with romanza in middle part or concerto. Later composers strengthen virtuoso position and domination of individual romantic artist over musical form but these ideas were more relevant to the way of understanding musical work than to building performance or composing in well balanced form.

Barenboim playing Mozart

   Born in Argentina, Daniel Barenboim started his career as a prodigious child. In 1954, when he was only 12 years old, his performances were published on record for the first time. In the age of 14 he graduated Accademia di Santa Cecilia in Rome. First period of his great artistic achievements was cooperation with The English Chamber Orchestra in 1960s. And one of best projects of this time were concerti by Wolfgang Amadeus Mozart recorded for EMI. He was playing piano and conducting orchestra from the keyboard. First pairs he recorded were Nos 20 and 23 (ASD 2318), then Nos 13 and 17 (ASD 2357), Nos 21 and 27 (ASD 2465) appeared in 1969. The same year EMI published Mozart’s Requiem recorded under Barenboim’s direction.
   Published by EMI – His Masters Voice label, recordings of Mozart’s concerti became Barenboim’s pass to the history. His legendary Mozart has nothing to do with popular way of defining classical style by shallow gesture. In C Major Concerto he is building consequent, well balanced form. Allegro maestoso presents the heights of classical style, which he balance in Andante when raising one of most charming themes in whole Mozart’s work. Quite as much touching as enigmatic middle part of Concerto No. 21 opens wide space of new sensitivity, and the best way to close it in three part form is to make rondo Allegro vivace assai condensed and expressive the way closer to Beethoven than Haydn.
   In Concerto C Major both cadenzas has been written by Daniel Barenboim while Concerto B-flat Major lasts with ones Mozart composed himself. Emotionally deep and still not conventional, interpretations based on inner energy driven by themes and harmonic turns are exceeding stylistic choices. Despite its emotionality, these performances are much more intellectual than many cold refined ones and sill they are competitive to many romantic renditions. This record is undoubtedly one of pillars supporting the great legend of Daniel Barenboim.

Géza Anda – Mozart Piano concertos G Major KV 453 and C Major KV 467

Wolfgang Amadeus Mozart wrote twenty seven piano concertos and almost every one of them can be seen as masterpiece of classical music. Besides his great contribution in every genre of musical creativity, this is piano concertos where we can follow the process of crystallizing his symphonic style and building the equilibrium between band and soloist’s individuality. Mozart’s concerti for piano from Vienna period have both so much of symphonic touch, that comparing them can clearly show, composer realized in this form some concepts of creating structure of orchestral sound and establishing new relations between instruments of the orchestra and soloist. 

Géza Anda – Mozart Piano concertos – „Elvira Madigan” 

Géza Anda was one of most respected Mozart interpreters of his times. Born in Budapest in 1921, he was student of Ernst von Dohnányi and Zoltán Kodály at the Franz Liszt Academy in Budapest. He started his career winning 1940 the Liszt Prize. One year later he astonished musical world with his congenial interpretation of 2nd Piano Concerto by Brahms. Wilhelm Furtwängler called 20 year-old pianist „troubadour of the piano”. 

Since his first contract, Géza Anda was recording mainly for Deutsche Grammophon Gesellschaft. For this label he recorded as first pianist in history the full cycle of Mozart’s piano concerti. In studio performances recorded between 1961 and 1969 Anda played with Camerata Academica des Salzburger Mozarteum which he conducted himself from the keyboard. Maybe this is why sometimes orchestra plays less vigorous and without so much emphasis then on many other known performances. Anda’s rendition convince, this can be a real virtue, giving piano more place for sedate interpretation.

Maybe the best selling from complete set of Géza Anda’s Mozart concerti was the one of 17th Piano Concerto G Major KV 453 and 21st Piano Concerto C Major KV 467. This album has been featured as recording used in soundtrack to Swedish movie Elvira Madigan. In 1968 cover of this record has been changed, showing Pia Degermark in the boat scene. Great international success of Andante from Piano concerto C-dur used in movie as a love theme, decided of whole concerto's nickname – Elvira Madigan. Dreamlike theme of this movement, especially in Anda's moderate performance became real hit of late sixties and early seventies, strengthening romantic legends on Mozart’s music. Album was prized Grand prix du disque in Paris. It is worth to remember cadenzas to Concerto G-dur were written by Mozart himself, but in 1st and 3rd part of C-dur Concerto the record includes original cadenzas by Géza Anda.