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Mozart Concert in Vienna

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Wolfgang Amadeus Mozart (1756 -1791)

Aus der Oper \Die Entführung aus dem Serail", KV 384

From the opera The Abduction from the Seraglio, K. 384


Arie des Blondchens/Blondchen's Aria

"Durch Zärtlichkeit..."

Aus der Oper "Don Giovanni", KV 527

From the opera Don Giovanni, K. 527

Canzonetta des Don Giovanni/Don Giovanni's Canzonetta

"Deh, vieni alla finestra"

Duett Don Giovanni-Zerlina:/Duet of Don Giovanni and Zerlina

"Là ci darern la mano"

Eine kleine Nachtmusik, KV 525

Serenade in G, K. 525

1. Allegro

Konzert für Klavier Nr. 21, C-Dur, KV 467

Piano Concerto No.21 in C major, K. 467

2. Andante

3. Allegro vivace assai

Symphonie Nr. 41, "Jupiter", KV 551

Symphony No.41, Jupiter, K. 551

1. Allegro vivace

Konzert für Violine, A-Dur, KV 219

Violin Concerto in A major, K. 219

3. Rondo: Tempo di Menuetto

Aus der Oper "Don Giovanni", KV 527

From the opera Don Giovanni, K. 527

Arie des Leporello - Registerarie/Leporello's Catalogue Song:

"Madarnina !"

Aus der Oper "Don Giovanni", KV 527

From the opera Don Giovanni, K. 527

Arie der Zerlina/Zerlina's Aria

"Vedrai, carino"

Aus der Oper "Die Zauberflöte", KV 620

From the opera The Magic Flute, K. 620

Arie des Papageno/Papageno's Aria

"Ein Mädchen oder Weibchen"

Alla turca (Orchesterbearbeitung)

Rondo alla turca (orchestral arrangement)

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 German opera Die Entführung aus dem Serail (The Abduction from the Seraglio) won Mozart his first operatic success in Vienna, when it was staged at the Burgtheater in July, 1782, with the encouragement of the Emperor Joseph II, who wanted to establish German opera in the city. The story concerns the at1ernpts by the hero Belmonte to rescue his beloved Constanze from the power of the Turkish Pasha Selim, a man of great magnanimity, who eventually releases her and her English maid Blondchen, in spite of the wrongs done him by Belmonte's father. The Overture finds an immediate place for w hat was identified in Mozart's time as Turkish music, indicated principally by triangle, cymbals and bass drum. The maid Blondchen has been entrusted

to the palace overseer Osmin for whom she is more than a match. At the beginning of the second act of the opera she tells him how he ought to treat a European girl, with tenderness and coaxing.

The opera Don Giovanni, alternatively titled Il dissoluto punito (The Rake Punished) was written for Prague, a city that had always welcomed Mozart, and was first staged there at the end of October, 1787. The story, dramatised in the early 17th century by Tirso de Molina, tells of the fate of Don Juan, whose adventures in seduction lead to the murder of the father of one of his victims. The statue of the murdered man, seen at night in a graveyard, comes to life and accepts Don Juan's invitation to dinner, only to drag him down into the flames of Hell.

The canzonetta Deh vieni alla finestra, o mio tesoro, (O come to the window, my treasure) is a serenade, and a particularly heartless one, sung after Don Giovanni has just tricked his former mistress Donna Elvira into mistaking his servant Leporello for his master. An equally famous excerpt from the opera is Don Giovanni's La ci darern la mano, as he takes the hand of the peasant-girl Zerlina, whom he intends to seduce on the day of her wedding. Don Giovanni's servant Leporello, descendant of a long line of complaining servants in European drama, opens the opera with an account of the hardships he suffers. The famous catalogue aria, in which he lists Don Giovanni's amorous conquests, recorded in the note-book he carries, is sung to console Donna Elvira, whose love Don Giovanni has enjoyed and rejected. In Vedrai, carino Zerlina soothes her injured lover, Masetto, who has been beaten by Don Giovanni, disguised as Leporello, an assault that is to have further dramatic consequences.

The Magic Flute, if not the last of Mozart's operas in order of composition, was the last to be staged, and was running at the time of his death in 1791. The story of the opera, with a libretto by Emanuel Schikaneder, the first Papageno, is one of initiation, with obvious debts to the initiatory rites of free- masonry that Mozart himself had undergone first in 1784. The ordeals undergone by the hero Tamino, before he can be united with his Pamina, have a comic parallel in the trials undergone by the comic bird-catcher, Papageno, before he finds his Papagena. In the aria Ein Mädchen oder Weibchen (Papageno wants a girl or a little wife), Papageno accompanies himself on a magic glock
Item number 8550866
Barcode 4891030508668
Release date 01/01/2000
Label Naxos Records
Media type CD
Number of units 1
Artists Andrea Martin
Donna Robin
Konrad Leitner
Ludwig Miller
Composers Wolfgang Amadeus Mozart
Conductors Konrad Leitner
Orchestras Vienna Mozart Orchestra
Producers Karol Kopernicky
Disc: 1
Rondo alla turca (orchestral arrangement)
1 Overture
2 Aria 'Durch Zartlichkeit...' (Blondchen)
3 Canzonetta 'Deh, vieni alla finestra' (Don Giovann
4 Duet 'La ci darem la mano' (Don Giovanni, Zerlina)
5 I. Allegro
6 II. Andante
7 III. Allegro vivace assai
8 I. Allegro vivace
9 III. Rondeau: Tempo di Menuetto
10 Madamina!
11 Aria 'Vedrai, carino' (Zerlina)
12 Aria 'Ein Madchen oder Weibchen' (Papageno)
13 Rondo alla turca (orchestral arrangement)
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