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Mozart Concert in Vienna

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Wolfgang Amadeus Mozart (1756 - 1791)

Aus der Oper \Le nozze di Figaro", KV 492

From the opera The Marriage of Figaro, K. 492


Arie des Figaro/Figaro's Aria:

"Non più andrai"

Aus der Oper "Le nozze di Figaro", KV 492

From the opera The Marriage of Figaro, K. 492

Arie der Susanna/Susanna's Aria

"Deh vieni non tardar"
Aus der Oper "Le nozze di Figaro", KV 492

From the opera The Marriage of Figaro, K. 492

Duett Graf-Susanna/Duet of the Count and Susanna:

"Crudel! perche finora"

Konzert für Klavier, A-Dur, KV 488

Piano Concerto in A Major, K. 488

2. Adagio

3. Allegroassai

Symphonie Nr. 40, g-moll, KV 550

Symphony No.40 in G minor, K. 550

1. Molto allegro

Aus der Oper "Die Zauberflöte", KV 620

From the opera The Magic Flute, K. 620

Arie der Königin der Nacht/Aria of the Queen of the Night

"Der Hölle Rache"

Posthorn-Serenade, KV 320

6. Menuetto

Konzert für Klarinette, A-Dur, KV 622

Clarinet Concerto in A Major, K. 622

2. Adagio

Aus der Oper "Die Zauberflöte", KV 620

From the opera The Magic Flute, K. 620

Arie des Papageno/Papageno's Aria

"Der Vogelfänger bin ich ja"

Duett Papageno -Papagena/Duet of Papageno and Papagena


Symphonie Nr. 35, "Haffner", KV 385

Symphony No.35, "Haffner", K. 385

4, Finale: Presto

Wolfgang Amadeus Mozart was born in Salzburg in 1756, the son of a court musician who, in the year of his youngest child's birth, published an influential book on violin-playing. Leopold Mozart rose to occupy the position of Vice-Kapellmeister to the Archbishop of Salzburg, but sacrificed his own creative career to that of his son, in whom he detected early signs of precocious genius. With the indulgence of his patron, he was able to undertake extended concert tours of Europe in which his son and his eider sister Nannerl were able to astonish audiences. The boy played both the keyboard and the violin and could improvise and soon write down his own compositions.

Childhood that had brought signal success was followed by a less satisfactory period of adolescence largely in Salzburg, under the patronage of a new and less sympathetic Archbishop. Mozart, like his father, found opportunities far too limited at home, while chances of travel were now restricted. In 1777, when leave of absence was not granted, he gave up employment in Salzburg to seek a future elsewhere, but neither Mannheim nor Paris, both musical centres of some importance, had anything for him. His Mannheim connections, however, brought a commission for an opera in Munich in 1781, and after its successful staging he was summoned by his patron to Vienna. There his dissatisfaction with his position and the denial of opportunities for advancement resulted in a quarrel with the Archbishop and dismissal from his service.

The last ten years of Mozart's life were spent in Vienna in precarious independence of both patron and immediate paternal advice, a situation aggravated by an imprudent marriage. Initial success in the opera-house and as a performer was followed, as the decade went on, by increasing financial difficulties. Yet this was the period of his greatest achievement, in the theatre, in chamber music and in the series of piano concertos he wrote for his own performance and his final symphonies. In 1791 things seemed about to take a turn for the better, in spite of the lack of interest at the court of the new Emperor. Prague commissioned a coronation opera, La clemenza di Tito, and with the actor-manager Emanuel Schikaneder there was a new and successful German opera for Vienna, The Magic Flute, both works staged in the autumn. Mozart died after a short illness early in December.

The opera Le nozze di Figaro (The Marriage of Figaro), based by the librettist Lorenzo da Ponte on a controversial French play by Beaumarchais, was first staged at the Burgtheater in Vienna on 1st May 1786 and won sufficient immediate success to allow nine performances, although public opinion was divided on the merits of the work, appreciated, as always, by the connoisseurs in the audience. Performances in Prague towards the end of the year were greeted with the greatest enthusiasm, and when Mozart arrived in the city early in 1787 he found the music whistled in the streets and serving to accompany dancing at fashionable balls.

The sparkling Overture sets the tone of the comedy that is to follow, in which the man-servant Figaro and his betrothed, Susanna, outwit Count Almaviva in his designs on the latter. In his aria Non più andrai, farfallone amoroso (No more, adventurous lover), Figaro makes fun of the amorous page Cherubino, would-be lover of the Countess, who is to be packed off by the Count to join the army. Susanna's Deh vieni non tardar (Oh come, don't delay) comes in the fourth act of the opera, when Susanna plans her own revenge on Figaro for his unjustified jealousy, in a scene set in a garden at night, where the complexities of the plot increase, as an attempt is made to embarrass the Count. The duet Crudel! perché finora (Cruel! Why make me suffer?) opens the third act, with the Count urging his claims on a reluctant Susanna, who now, unaccountably, seems to agree to his request. Susanna and the Countess have, in fact, resolved to trick the Count into an assignation with the disguised Countess herself.

The German opera Die Zauberflöte (The Magic Flute) was staged in the autumn of 1791 and was running at the time of Mozart's final illness and death. The opera, which makes considerable use of masonic symbolism, a token of Mozart's own membership of the brotherhood, pits dark against light, the powers of darkness represented by the wicked Queen of the Night, mother of the heroine, Pamina. The Queen of the Night expresses her animosity against her former consort, the noble Sarastro, and in a brilliant coloratura aria Der Hölle Rache kocht in meinem Herzen (The wrath of Hell seethes in my heart) commands her daughter to murder her foe. Comedy in the opera is provided by the bird-catcher Papageno, who announces his trade in his opening song, Der Vogelfänger bin ich ja (A bird-catcher I), and later finds his own loving partner in a similarly feather-decked partner Papagena. The two stutter their love for each other in the duet Pa-pa-papageno.

The last ten years of Mozart's life brought not only the great operas but a magnificent series of piano concertos, intended principally for his own use in winter subscription concerts. The A major Concerto, K. 488, was completed on 2nd March in 1786, the year of The Marriage of Figaro, and is given a particular poignancy by its use of clarinets instead of oboes in its scoring. Clarinets were later added to the scoring of the Symphony No.40 in G minor, the second of the last three symphonies, written in the space of a few weeks in the summer of 1788. The clarinet was, at the time, a relatively new orchestral instrument, e
Item number 8550867
Barcode 4891030508675
Release date 12/01/1999
Category Classical
Label Naxos Classics
Media type CD
Number of units 1
Artists Martin, Andrea
Leitner, Konrad
Martin, Andrea
Robin, Donna
Grunbacher, Gerald
Leitner, Konrad
Composers Mozart, Wolfgang Amadeus
Mozart, Wolfgang Amadeus
Conductors Leitner, Konrad
Leitner, Konrad
Orchestras Vienna Mozart Orchestra
Vienna Mozart Orchestra
Producers Kopernicky, Karol
Kopernicky, Karol
Disc: 1
Symphony No. 35, K. 385, "Haffner"
1 Overture
2 Aria 'Non piu andrai' (Figaro)
3 Aria 'Deh, vieni non tardar' (Susanna)
4 Duet 'Crudel! perche finora' (Count, Susanna)
5 II. Andante
6 III. Presto
7 I. Allegro molto
8 Aria 'Der Holle Rache'
9 VI. Menuetto
10 II. Adagio
11 Aria 'Der Vogelfanger bin ich ja' (Papageno)
12 Duet 'Pa-pa-papageno' (Papageno, Papagena)
13 IV. Finale: Presto
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