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1970: Claudio Arrau plays Liszt

From an academic career can be said that the composer Liszt not really. According unconventional because he was also with sounds and shapes. One of the boldest and most original works of piano literature in general is one of his only Sonata (1853) which was quite controversial among experts. The Viennese critic Hanslick wrote of a "genius steam mill almost always this is free "; Schumann, which was the dedication, the opus was not also feel uncomfortable - he spoke of a" musical whore "with" liebäugele every style and every master " Why the outrage Liszt was and is.? not a German composer. If this is true even politically (as a subject, he belonged to Habsburg Austria-Hungary
), then certainly in style. Franz Liszt was formed by the French romance, the glaring contrasts, dramatic peaks and a good dose of pathos with sensual, erotic and perfume knew how to combine the Paris salons. But in no case shall be measured Liszt with the yard of the Viennese classical music. If he already wrote a sonata, then you can rest assured that there will be a real surprise - and thanks to his genius, an advance in completely uncharted territory. Unheard of even the thought of the usual four movements to condense into a single (as then in his second piano concerto) and all six (!) Issues of a core motif (the dark unison theme of the beginning) to formulate them.


Franz Liszt, has around 1860 (Fotograpie of Franz Hanfstaengl ) This monothematicism some precursors in the "idée fixe"
the friend of Liszt, Berlioz
; will address the technology and the metamorphosis of themes later Cesar Franck and Alexander Scriabin . Liszt knew that he had here thrown his "spear into the future" : "I can build with just a few blocks a musical ... Other buildings will need the material lOOOfache I say that there will be less in future and building materials. that one must be a good master in order to cope not. in the waste is the essential, but the restriction to the essentials. An idea must be present, not an agglomeration of Pseudomonas ideas. " The main theme of the hands-on exposure, as a symbol of absolute power apply a hammering part of the motif is becoming more dramaturgical weight. Liszt had six years earlier abandoned the concert life, because it meant to him only repetition and routine: Now he wanted to penetrate to the essence and create lasting. So he settled in Weimar
as
Hofkapellmeister and devoted his best years to composing and conducting. He dealt extensively with the orchestra, with literature, wrote books and even music stood up for the Goethe-care. Behind the grandiose sound painting of the B minor Sonata, one may assume in fact a Faustian conception: through struggles and trials can pass the personality to maintain and achieve inner peace. The goal state - dissolved, freed after the victorious peace activity is represented by the cantabile second subject, the central Asked fervent F major Andante, and the coda. Of particular harmonic elegance is the final cadence. The sonata was first performed in Berlin in 1857 by Hans von Bülow
: on the first wing of the now world-famous
Bechstein .

a page from Liszt's manuscript of his Piano Sonata The notes are (in the IMSLP ) freely available here. - Prof. Dr. Tibor Szász has some fundamental analysis source of the work. Bénédiction de Dieu dans la solitude

As a child already had Liszt, drained by the early overuse want to go to the monastery. Periodically versa, this world-weariness, again this desire for seclusion. When he toured the life "in the lap of luxury," as he put it himself, gradually became weary, he sank into the mysteries of faith and created strange meditation pieces that point forward to Messiaen
about a century later. The ten Harmonies poétiques et religieuses and 1845-52 were included in addition to liturgical adaptations third in the de Dieu dans la solitude Bénédiction (God's blessings in solitude). Finishing the song, uniform motion, the diatonic harmony, clear and easy to cover the closing tune.
Two concert etudes

In 1863, Liszt wrote for the then-known "piano method" of
Lebert and Stark
two concert etudes , both motion studies of elegant and colorful character. Whispering Forest is a subtle sound, like its sophisticated genre of each piece can fade of his contemporaries. In Gnomenreigen the permit does somewhat misleading: dance here because elves, no elves, and one supposedly to hear Mendelssohn.

Jean-Pierre Dantan (* 1800 Paris, 1869 + Baden-Baden): Liszt played piano, 1836, plaster, height 21 cm, Musée Carnavalet, Paris (Dantan know more about the French Wikipedia) Vallée d'Obermann

The beautiful, smart Countess Marie d'Agoult
, Liszt's first girlfriend and mother of his children had abandoned her family because of him and the Paris society in order to follow him to Geneva. With it he now took
traveled extensively through Switzerland and Italy, that he impressions a sort of sounding diaries noted. First came an album d'un voyageur, which consists almost exclusively of Swiss impressions. These are then reviewed in a three-part major cycle again, the sounding diaries Années de pèlerinage. The ". First born Switzerland", in addition to the chapel of William Tell another associate literary landscape painting: the Vallee d'Obermann (Obermann's Valley), after the hero of a sensitive contemporary epistolary novel by Étienne de Senancour .
Source: Christoph Rueger, in the booklet


TRACKLIST

 
 FRANZ LISZT  1811-1886 
 
 
  
 Sonata in B minor B minor - h-Moll 
 
 
 01 I Lento assai - Allegro energico - 3.19 02 
 
 II Grandioso - Recitativo - 9.26  03 III Andante sostenuto - 8.21  04 IV Allegro 9.11 energico 
 
 
 Blessing of God in solitude 
 No.3 from Harmonies Poetic and Religious 
 05 I Moderato - 8.08 
 Andante 06 II - 2.19 III 07 
 Più sostenuto quasi Preludio - 8.40 
 Tempo I - Andante semplice 
 
 
 Zwei Konzertetüden 
 08 Waldesrauschen 
 4.37 3.14 09 Gnomenreigen 
 
 
 Vallee d'Obermann 15.03 10 
 from Years of Pilgrimage. First Year: Switzerland 
 
 
 74.36 Total Timing 
 
 
 Claudio Arrau, piano 
 
 Recording locations: Detmold, Germany, March 1969 (Vallee d'Obermann) 
 Johannesstift, Berlin, March 1970 (Sonata, Bene diction, Concert Studies ) 
 (C) 2001 ADD 
 
 
 
 
 

Claudio Arrau (1903-1991)

Claudio Arrau : Ernst was his art. Ernst was his art. Arrau played, he was thinking. A Scherzo of Chopin, a ballad by Brahms - the music seemed to grow, to question themselves. He was not a companion, never. But the tasks of the artist should go to the point, everything else remained complacent or glare. At age was added a refined form of stubbornness, a hesitation before each sound. The pulse stopped, the highlights would be fought, even suffered. However, this seemed exciting, often as a "work in progress - familiar themes sounded new, a piece like Beethoven's" Appassionata " again had intention and power. It was to learn that a creative music-making creates always present, regardless of the canon of the tradition.
The tradition remained Arrau otherwise faithful. His heart was beginning for the confident pianism of the 19 Century.

Martin Krause, who had studied with Liszt, taught him in Berlin. At that time, during the First World War, Arrau was a child prodigy. to phrase from the spirit of romance - "organic" and speaking with intensity - heavy, was not the Eleven. Difficult challenges he overcame sovereign, the repertoire had little aside. The Chilean-born son of a piano teacher and gained knowledge rapidly, education, a stupendous memory. Arrau in 1935 as Bach's complete piano works performed publicly - certainly with unflinching care and philological accuracy - he was already a master.
The young maestro also loved the brilliance. Early records show pieces before, whose virtuosic allure speaks for itself. Arrau Liszt offered "Rhapsodie Espagnole" with endurance and agility; Busoni "Carmen Fantasy" with wit and deeper meaning; Balakirev Concert Fantasy "Islamey" with elegant shading art. Alfred Cortot
that Arrau heard in 1927 on the occasion of the Geneva Music Competition, was impressed. "Voilà un pianiste." So, that is the role the brilliant virtuoso, Arrau would henceforth be able to live well. But he was drawn to the higher: Schumann's poetic inner worlds of the piano concertos of Brahms, especially to Beethoven. Not primarily as a pianist Arrau was amazed, but convincing as interpreter and designer.


Arrau at his workplace - Besides again published articles in the NZZ I found on the web has a mirror text from 1965 (No. 15/1965 07/04/1965: "It is madness") a text in Tutila , and obituaries on the occasion of his death ( Time or Der Spiegel ). A Enthusiast operates the private ArrauHouse, "the most reliable and thorough educational website about classical pianist Claudio Arrau." The text was sacred to him. For the text, he never developed a conscience, for sustained. The grades are not everything - they give the idea of the work yet, the reality. But it is likely for the rest. The soigne Lord, since the fifties and sixties entered the podium, was not a "romantic" more. He embodied, on the side of the player, the truth. However, under Arraus care began, the sonatas of Beethoven, the concertos of Chopin, Debussy preludes to discuss their finest nuances. But that was not only accurate, correct, read with a magnifying glass, it was binding on compelling way. Serious and involved no one else was playing the piano.

Arraus drama was unmistakable. She took a hand, "everything" true - voices, voices addition, suggestions, breaks, dynamics and rhythm, the characters, the ideas. On the other hand, they knew weighted. Against linear time, against the permanent disappearance of the music they showed action, sharpened it up and down. The slow movement of Beethoven's Fourth Piano Concerto, Arrau began in the simple lament, but the chromatic and down the left hand over the long trill figure as he tore an exclamation of horror in the lyric Texture. No wonder the young Martha Argerich
was affected by it consequences.
hinges, pivot points of the music Arrau was in his mature years, with emphasis, in his late time out with extreme care. Chopin's Nocturnes, which he had formerly delighted to have been a quiet way, he finally into structures of a stagnant and pessimistic language. The ballad of the young Brahms, he was so bitter and polyphonic, as it was written by someone old had become melancholic. And for the Intermezzo in Schumann's "Carnival of Schwank Vienna» reply he made the dissonances interspersed with the sweep of the melody. Arrau thought - always more, always steadfast - in perspective. Seldom followed it also load samples. In Chopin's waltzes, the old man articulated against the softness of the dance, and Mozart sonatas, it now sounded brittle, even tortured.



1983, 20th February: Plácido Domingo and Claudio Arrau. 80th Birthday Gala Recital, Avery Fisher Hall, Lincoln Center, NY. Still fascinated Arraus late style to significant way. The maestro of formulating the once dazzling passages understood, changed the attack to the side of color and weight. By the sounds of a track was longer, they won on substance and resonance. As Arrau shortly before his death in June 1991, some of Debussy played in, lit the Basses in orchestral splendor - the instrument had sublimated his mechanics completely. Arrau was a long way to achieve that presence of the music. In the Arietta of Beethoven's last sonata, he found them, or the miraculous sign of Liszt's Petrarch Sonnets.
Arrau was a man of culture. cultured on old-fashioned way, he preserved the heritage of art. The inheritance went to him with modernity quite all. He enthusiastically commented about the literature of Surrealism, he was looking at all the talk about painting, architecture, poetry. If he then asked for tea, they were prepared to expect any small talk. Every encounter issues and wanted Ideas - now it was serious. - On 6 Claudio Arrau February 2003 would have been a hundred years old. We bow.




Source: Martin Meyer

: Ernst was his art - the 100th Birthday of the pianist Claudio Arrau, 6 February 2003, Neue Zürcher Zeitung

Lempfrid Wolfgang published his music manuscripts in critical cologne piano. I have already published some of his articles here; to Arrau he has to say, unfortunately, nothing, but for many other pianists and works. Highly recommended!

CD Info & Scans (Tracklist, cover, booklet, Music Samples, Bonus Pictures), 26 MB -

Read the file "Download links.txt" for links to the Ape + Cue + Log Files
Track 01: Piano Sonata in B minor

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Anton Eberl (1765-1807): Quintet and Trio

"He used to write down any piece of music until he had not quite finished in my head, but then he improved very reluctantly and usually only a few. He often wore full moon symphonies and concerts around with him long before he came to the writing desk. He usually worked on solitary walks, where he saw or knew anyone who irked him about on the road. Nor was he when he important creations in the head was usually very scattered, and participated in the maintenance of the society in which he was perhaps at one time no share more. " The composer, whose compositional habits here (in the obituary be the general musical newspaper
from April 1, 1807) characterizes as they represented a mix of Mozart's
genius and Beethoven's perfectionism, was in fact in some ways between Mozart and Beethoven, not only chronologically, he lived from 1765-1807, but also because of its position in the musical life of the Austrian capital. With Mozart, he was known, yes friends, like a cantata Bey Mozarts Grabe "from Mozart's death in 1791 testified, and Beethoven, he competed in the first decade of the 19th Century to win the favor of the Viennese public, we can say that he was Beethoven's most important and most significant competitor in Vienna in the field of instrumental music. Anton Eberl
on 13 Born in Vienna in June 1765. His father was a wealthy imperial official. Early on, has the musical talent of the young Anton have expressed, at the age of seven or eight years he was in private as a pianist. Piano lessons, he probably received by Josef Anton Steffan and / or
Georg Christoph Wagenseil , from 1778, perhaps by Leopold Kozeluh . Urged on by his father took Eberl late 1770s to study law, which was, however, he soon give up if only because its financial bankruptcy forced, he had not given up playing the piano during his studies, he now turned fully to the music. 1781 arrived in Vienna the first stage work Eberl, the comic opera Les Bohemians , performed, which until the mid-1790s was followed by five other stage works, including the musical comedy The Marchande des Modes that lifted him mention the praise Gluck intended. Between 1783 and 1785 Eberl composed three symphonies, the last in C major, some similarities with Mozart's Haffner Symphony (1782) and in 1944 as Mozart's work appeared in print, soon turned out that this is a work Eberl.

Anton Eberl (1765-1807) Anton Eberl details to be found in Klassika, in
General German Biography , and dedicated to him in a thread in the Classical Forum Tamino. In the years 1784 and 1785, in March, had Eberl presented in which he himself held "academies" at the Vienna Burgtheater the music-loving audience, and perhaps he had met at one of these occasions Mozart learned, whether Eberl and Mozart's pupil was, is still not resolved. In any case, some of the early piano compositions Eberl published until well into the 19th Century, Mozart's name into it. Twice, in 1798 and 1805, Eberl publicly protested against this abuse of his works and the name of Mozart by the publisher. The connection to the Mozart family also ripped off after 1791 does not, under the immediate influence of Mozart's early death he had, as already indicated, in December 1791 a cantata composed Bey Mozarts Grabe, and in winter 1795/96 accompanied Eberl
Mozart's widow
Konstanze and her sister Aloysia Lange on a tour through Germany. seems to return to Vienna Eberl term in the Austrian imperial city but no prospects for himself and his wife Anna Maria, born Scheffler, who he married in the spring of 1796, have seen. The couple moved on shortly after the marriage to St. Petersburg. Although he succeeded in the capital of the Tsarist empire at once, to gain in court circles a reputation as a piano teacher and composer, like many plant dedications show including to members of the royal family; to dreiiährigem stay, the couple end of 1799 but returned to Vienna, Eberl and again tried to succeed as a composer of stage works. His opera The Queen of Black Magic Island (1801), however, remained resounding success failed; the plant was closed after eight performances. Perhaps discouraged by this failure, he turns in 1801 yet again heads to St. Petersburg, where he spent three highly acclaimed performances of Haydn's oratorio The Creation
, a year later, however, the final establishment in Vienna. Well turns Eberl to the composition of instrumental music and experienced a meteoric rise.


Eberl, Anton: Grand Quintet for piano forte clarinette, deux altos et violoncelle Oblige, Op 41 [votes], Vienne, [ca 1825] (Source: printed music from the music department of the Bavarian State Library, Munich Digitisation Centre ) Already in a 1802 trip report written Eberl is provided as a composer of piano music after Beethoven, "in Beethoven's piano compositions are well now and Anton Eberl the most strength. Beyde have novelty, fire and force of ideas on the two rivers, and both works are exequiren quite heavy, but also certainly worth the effort. Beethoven, nor to my Vergleichungssucht Einmahl the reins to make shooting, has, I think, with Jean Paul
many resemblance. Beyde are characterized by very much genius, but also by many peculiarities and eccentricities, you must forgive the genius. Eberl Force acts more as a whole, rather than individual parts. With fiery live complexions, he, like
Klinger s Gemählde, with broad strokes, powerful figures in front of our soul, which take us with wondrous power, though still occasionally seen too many wild untamed strength. " Similar 8eethoven in the years after 1795 also seems Eberl as planned, at his final return to Vienna in the genres of instrumental music have been acquired: the breakthrough as a piano composer in 1802 was followed the next year of success as a composer of chamber music. August von Kotzebue
reported in the first year of the newspaper he edited
The frank and Berlin Zeitung for educated, unbiased reader (from 12.04.1803) that was Eberl Piano Quartet in C major op.18 Beethoven's Opus 16, the next big musical sensation of Lent 1803: Although "as a character in a lighter" the work of Beethoven, but "full of fine, but deep feeling, originality, fire and power, brilliant and imposing." And on 06 January 1804 stood Eberl, "until now only by piano compositions generally known and geschäzt," as it said in a contemporary account, in an "Academy of the Viennese public," the first time before composing for large orchestra, it seems deliberately to representative genres of orchestral music Covering, performed the overture came to the Queen of the Black Islands, the Piano Concerto, Op-flat major, Opus 40, Concerto for Two Pianos and Orchestra in B flat major, Op 45 and Symphony in E major, 33rd the rest of the year 1804 and 1805 he used to be in another "academies" to finally establish itself as a Viennese composer of note and to compose works in all genres of instrumental music. From January to June 1806 Eberl undertook a concert tour to northern Germany to introduce even there his large orchestral works, and in March he performed in Dresden and Berlin, in Leipzig in April and May in Weimar and Mannheim. The Hereditary Princess Maria Pavlovna
Weimar, a sister of Tsar Alexander I.
known by Eberl perhaps since his stay in St. Petersburg was commissioned him to compose a piano sonata, this work (G minor, Op 39 ) should be his last major composition, for Eberl died at the age of 42 years, yet on 11 March 1807 of scarlet fever.

Johann Heinrich Ferdinand Olivier (1785-1841): Landscape of Salzburg, 1824, Gemäldegalerie Dresden The Nazarene Johann Heinrich Ferdinand Olivier, called the Younger, was a specialist in Mediterranean landscapes, which he peopled with biblical scenes. The used for the cover of this section is only slightly smaller than the original image. Unlike Beethoven, who after 1800 is almost exclusively the "classical" genres of chamber music - string quartet and piano trio - used, composed Eberl until the end of his works for various chamber music ensembles, quartets and quintets with and without wind, but also duo sonatas , trios and a series of three string quartets. This should apply particularly his chamber music for piano with mixed Bläser-/Streicherbesetzung unprecedented. You either composed in the tradition of the Serenade for Winds and Strings call without piano {Mozart's wind serenades and his Oboe Quartet K. 370, and 8eethovens Septet op.20 would be here), or, starting from the tradition of the accompanied piano sonata for piano and wind instruments (Mozart, Quintet K. 452, Beethoven, Quintet, Op 16 ) and for piano and strings (piano trios and quartets).
sets the dominance of the piano part to the assumption Eberl had work for own use in musical circles, salons and even written on the body. As for his chamber music with horns, and his fondness for the clarinet is striking: he had already in 1799 with his Sonata in B flat major, Op 10, No 2 is one of the earliest works for clarinet and appear piano (but still with an old-fashioned ad libitum-bass) have so followed in the years following the turn of the century, the Quintet in G minor, Op 41, the potpourri for piano, clarinet and cello, Op 44 and the trio op 36th Time is usual in the prints usually contain an alternative to the clarinet a violin, the publisher knew that the clarinet was in contemporary musical life is not nearly as common as the violin and raised in this way, the prospects for sales of the prints.


Source:
Bert Hagel
(Berlin), in the booklet

TRACKLIST

 
  Anton Eberl (1765-1807) 
 
 
  Grand Quintet, Op. 41 in G minor 24'43 
 for Piano, Clarinet, Two Violas & Cello 
 
 (01) I. Allegro con fuoco 10'05 
 
 (02) II. Adagio 7'15 but not too 
 
 (03) III. Finale 7'23   
 Grand Trio, Op. 36 in E flat major 29'21 
 for Piano, Clarinet & Cello 
 
 (04) I. Andante maestoso - Allegro 10'33 
 (05) II. Adagio non troppo, but 8'36 
 expression (06) III. Scherzo. Molto vivace 3'08 
 (07) IV. Allegretto 7'04 
 
 
 Quintuor brilliant op. 48 in C major 23'17 
 for Piano, Oboe, Violin, Viola & Cello 
 
 (08) I. Allegro vivace 11'24 
 (09) II. Adagio 5'47 
 not much (10) III. Rondo. Allegretto con moto 6'06 
 
 
 TT: 77'38 
 
 
 
 Consortium Classicum: 
 
 Dieter Bros., Clarinet (1-7) 
 Gernot Schmalfuss, oboe (8-10) 
 Andreas Krecher, Violin (8 - 10) 
 Niklas Schwarz, Viola (1-3 & 8-10) 
 Ludwig Hampe, Viola (1-3) 
 Armin Fromm, cello (1-10) 
 Thomas Duis, piano (1-10) 
 
 
 Recording: Chamber Music Studio of the SWR Stuttgart, October 4-7, 2005 
 Recording Supervisor: Dietmar Wolf 
 Recording Engineer : Burkhard Pitzer Landeck 
 Digital Editing: Dietmar Wolf, Tanja Hiesch 
 
 
 
 (P) 2007 
 DDD 
 
 
 
 

Jan Vermeer
: Sitting virginal, 1673-75, London, National Gallery The elegantly dressed young woman seated at a Virginal
, a precursor of the harpsichord, whose name is already on the female Virginity alludes. Unlike the guitar player
that looks to the side, she looks at us directly. It is unclear whether their views or requests, so here is real or has played naive. The pose is reminiscent of the letter writer in yellow
from the 60's, but without the intense luminosity. While previous rectangular compositions seem to require assign Vermeer Piet Mondrian, we recognize here the impressionists at work, and Jackson Pollock has side front of the virginal young folks.
The most interesting detail of the painting is the picture on the wall, which is not difficult as Dirck van Baburen
s
matchmaker identifiable. As fits a picture of sin, the representation of the "point-of-sale transaction" (Roy Williams Clickery) through which a prostitute is purchased, this innocent-looking, peaceful young woman playing music? In obviously similar - on Vermeer's painting, the virginal standing,
is the picture on the wall
Cupido, a symbol of love, but no commercial connotations. Perhaps the painter wanted to suggest by the image pair, the two varieties of erotic "behavior". Vermeer Baburen image in another image, the concert
, quoted, and it is believed that he possessed it, and that it hung in his house. (It is mentioned in the inventory of the house of his mother in 1641.)
picture and comment will remember Roy Williams
Clickery
, who presented more than ten years, the website "Paintings of Vermeer" , with illustrations of and commentaries on all the pictures of Vermeer, and much more. The link is long dead but not forgotten. A remaining featured website to Johannes Vermeer is "Johannes Vermeer & life in Delft"
, "a multimedia, encyclopedic 2000 + page web site".


Historical portraits of important personalities: portrait.kaar.at is a searchable image database with currently 2349 historical portraits. Here are photographs and engravings, woodcuts and paintings from different areas and eras. See for yourself: The Top 20 Portaits
the last month.

CD Info & Scans (tracklist, cover, booklet, Music Samples, Bonus Pictures), 47 MB
Read the file "Download links.txt" for links to the Ape + Cue + Log Files
Track 02: Grand Quintet Op 41 - II Adagio ma non troppo

What Does Solaraze Gel Do

When the money from the sky

Once upon a time .. east in the: be exact Nizhny Novgorod. The crafty Andreas has again booked geruxx.de (see

Cheap flights to Moscow

) the cheapest flights to get from Nizhny Novgorod to Moscow and Vienna to Munich. Clock in the morning to five in Nizhny is still all right. His dearest, because Russian friend has a taxi for 500 rubles to the airport of Nizhny ordered. On time they leave the house and he. Of course the taxi is not there! Including, so simple it does not make the Russians. Telephone inquiries are unsuccessful, so they swarm out and his brave girlfriend finds the taxi actually about 5 minutes walk away calmly stand at a fairly wrong address. Well, I created but still my flight. Arrived at the airport a little Maleur. The taxi driver would like to once 750 rubles instead of the outstanding 500th I have but only 600 rubles. And the time will come to the aircraft just as the taxi took longer than expected. Fortunately it is possible the very best friend the taxi driver from the poverty of his passengers about to testify and is content with 600 rubles. Okay, I need rubles before any more, it finally goes home to Germany and I am anyway at airports en route. Gepaeckaufgabe and check-in runs everything as usual, until the beloved one looks at the boarding pass in flight: Because

is ВНУКОВО (Vnukovo). "How, what, why?" I thought your flight to Munich Domodedovo? " Yes, hinwaerts that was the case! But apparently not backward. Apparently the wily Andreas has looked closely at cheap book about geruxx not as accurate. What now? Ok, between arrival and departure to Moscow to Munich are more than five hours. Will I make it from Sheremetyevo to Domodedovo across Moscow without a ruble in his pocket and with only rudimentary knowledge of Russian language? The whole love is contrary to will, for 6000 rubles another flight booking, but where now get by 6 clock morning the money? From the taxi driver, perhaps? So all I had nothing else and I have to try it. The whole love promises immediately by bus from the airport to go home, the Internet (Analogmodem!) nachzuschauen everything and me to teach via SMS.

• I fly, meanwhile, with the internationally known U7 flight to Moscow and there to come without problems. There, however, it is said to be more concentrated: Since the Vnukovo airport for domestic flights is used almost exclusively, there is no switch to the money exchange. In the last corner of the place but yet a clever Andreas automatic money exchange promises But only € rubles! But wait we are focused! Through careful study of the Cyrillic menus but I manage to find an option, which allows me to maybe € exchange in rubles. So quick to give a 10 euro bill into the machine and hope for the best! Sorry, too early happy. The machine accepts the 10 Euro not start, no smoothing, no snap, no swearing helps. Ok, then the Emergency Reserve: The final 20 euro note! Hurrah, it works and I'm back rubles in abundance. The dearest has already been researched and written in the SMS I should look for signs Злектропоезд. Of course, the Vnukovo airport just a single site and signs is scarce. Polite are requesting the information desk one stuttered "left" as a further hint. I go to "left" to the output, but the course is due to the construction site just shut off. So back to the beginning, this time to the right and outside of the building to the left and then finally as big as they used pictures of Stalin: Злектропоезд! So just follow the signs, and remove the Cyrillic ticket descriptions that I get to the Aero Express for 250 rubles from Vnukovo to

Kiev Station in Moscow. How nice. throw away, but in no case, the purchased ticket to the ticket in the train control, writes the beloved one, at the Kiev Station must be passed again to a ticket check. So I pick up my ticket and guard it as my treasure.

arrival at Kiev's train station to use the old trick: Just follow the crowd and indeed it leads me directly to the Metro station

Kievskaya
• . Here I stand in line at the ticket office at (ticket machines do not exist in the Moscow Metro would be, too trivial), lie down for 22 rubles and get a ticket. Then follow the crowd in the depth to the brown ring line to get
• direction Paweletzkaja . But the mass has a different opinion and leads me somewhere, but not to the ring line. So back against the current, somewhere must have an exit. Yes, there is one, but no sign. Okay, it seems to be the only option and in fact: After a hundred meters back signs point to the circle line. Funny, why Russia signs are only in places where they are not in use? So, enter the subway, which is well built specifically so loud, so that the working class can not sleep. Then after a half hour to 4 stops windchill finally the announcement "станце Павелецкая" or something. So get out, follow the crowd to light up. The friend wrote, I have to see the
Pawelezer
• Station of the Metro station (why never connected in Moscow metro station and associated are archaeologists will surprise even in 1000 years.). Of course, I do not see him! indeed only 90 meters wide this station! But he is not there. I follow the crowd, it splits into left and right. I opt for the left, because I have made good experience. The amount which I will always follow, and no less 90-meter wide station in sight. So back to the metro station, this time to right. Oh, there's a map. According to city map train station is right outside the station only served in between. But actually, no trace of a field where I am? Ok, I have to ask someone in Russian, it has no other choice. So I'm looking for someone, and suddenly the enlightenment! The station is behind the huge construction site with 10 meter high billboards before. If you go 200 meters from the metro station to the right he can be at 100 meters skew see behind the posters. In between, however, a huge street and the building site. How do people come from the metro station to station? Taxi, bus? Back to the Metro Station: aha, there is a small underpass, with signs, inform me about it that I can trade down there at a good price rubles. But where does the underpass? It helps nothing, I've already lost too much time, I go to the underpass, let me not stop signs and police officers, go to the end, do not exchange rubles and I'm finally in front of the huge station. My whole love writing, I will go to input 3. Fortunately, because there are 5 inputs, leading to natural completely separate parts of the station. Love is simply the best. So purely in input 3 and there is again a sign for Aero Express for 250 rubles. I Waehner almost back in civilization. So buy a ticket to catch the train, the next does not arrive for an hour, then close with the aircraft. Ticket not throw away! writes her friend and we still all good. After 3.5 hours I actually got it from Sheremetyevo to Domodedovo made by public transport. What comes next seems to me like a no brainer: Flight to Vienna, problems with the connecting flight as boarding pass in Moscow only to Vienna and Munich to . Get But the Austrians have probably had enough of my travel history, and then let me enter it yet. Arrived in Munich just go again with the train, then 10 minutes walking and already I'm home. I think short taxi, plane, train, subway, train, airplane, airplane, train, something is still missing! So put on a bike and go shopping with a large rucksack on his back next to the supermarket down, funny enough I was in fact quite hungry.

Mens Brazilian Wax Orange County

enlightenment

In connection with the topic "Advancement" appears again and again the question of the Enlightenment. Some people believe that they would be enlightened to the ascent, because both had the same thing anyway. Others say that enlightenment is a prerequisite was for the rise. Still others say that the one with the other had to do absolutely nothing. That the path of enlightenment is something old and especially East and the modern man who wants to ascend to do anything did.

what is enlightenment?
There are basically two ways that differ, but both belong to being human. One is the path of ascent and the other is the path of enlightenment. Each person is called on both paths, since they both belong to the life of people and both want to be gone.

rise is the expansion of consciousness within the individual being at least until in the fifth dimension into it and continue beyond the fifth dimension. Enlightenment has nothing to do with the dimensions nothing initially. Enlightenment is the expansion of consciousness beyond the boundaries of individual being out. This can be done in principle by each dimension. As the seventh dimension related to the Christ consciousness, you can not in the eighth dimension still rise in the Christ-consciousness, without having first attained enlightenment. figuratively climb is therefore an expansion of consciousness in the "high" or "depth" and the enlightenment awareness goes to the "width".

an ascended master, undergo a duality live to be but as an individual being, but as part of the whole, than one with everything. The Enlightened One also finds no duality, and experience themselves only as the One Being. Even an enlightened does not have an individual being, but no longer experiences himself as such. When a person is enlightened with normal consciousness, he also has ego, as his consciousness has expanded almost beyond the borders of the ego by being his own addition. This process initially has no effect on the ego. The Enlightened One is now identified, not with his ego and not with his individuality, which is why it has the ego for an enlightened much harder to gain advantage.

Enlightened said of himself, appear to thoughts and feelings. Since they no longer identify themselves with at the moment they have no power over these people and pull over. Since a normal enlightened has no special skills and no longer identified with his ego, he can not accept more and expires most of illusion, no ego to have more.

All known enlightened us on this planet have been enlightened by their 3-D-consciousness from. Thus they fell into the so-called enlightenment trap. As they see themselves only as the one being, they feel so great that they believe the goal of all development to have arrived. Enlightened have no interest in the promotion process, they often smile and even call the illusion of ego. They are the ones that the illusion of separation have exchanged only for another. Enlightened teach that while there different bodies, but otherwise just a BE just across their own experience accordingly. As enlightened have usually no extended exercise, take the higher dimensions is not it, no natural beings or angels, and deny, therefore, their existence because they do not fit into the scheme that, in addition to the separate physical forms, yet distinct life forms of higher dimensions exist.

An important difference between advancement and enlightenment is that you yourself can only bring about his rise, even if we receive a lot of help from outside. No man can thus be increased, the rise is not automatic. During the Enlightenment, it is almost exactly the other way around. No one can lead his enlightenment self-inflicted. Can only be illuminated. It is and remains ultimately an act of divine grace. If a person is properly prepared and be strong and sincere desire for enlightenment, and God will not deny this man the grace of enlightenment. But no one knows of place nor the hour, so God alone knows.

for the enlightenment and the rise there is no set order. Most of us whose names are known Ascended masters and mistresses have been enlightened after their ascension. It's also enlightened already possible before the rise to be even fall without being in the enlightenment case. But one has a clear focus on promotion and very firm and sure to be on his way. Therefore, every person is cordially recommended initially concentrate fully on the path of ascent and leave it to God if he wants to illumine one already before the rise.

have done through their enlightened enlightenment a big step toward love, for they are now in a position to all that is, for what it is to accept the way it is. They then remain, however, are also available. For Enlightened's all easy as it is, nothing more, nothing less. An enlightened is all matter in a positive way. He sees the world and life than at any time perfect and that it therefore would be to do nothing. The view is true, the conclusion, however, merely an expression of enlightenment trap. Enlightened are not creators, they create nothing and see no sense in it, since everything is as it is and that nothing and no one to save or improve anything, since everything is already perfect. War is war, poverty, poverty and disease is disease. It is what it is. If only all people would be enlightened, they would accept everything because they suffer no more and no more would want from their ego out. So the world could then quietly go down well, because that would ultimately not matter, because all physical life is an illusion and there is supposedly only one undifferentiated BE there.

Because of its higher interests of the enlightened is just cut off, like any normal person also fails to recognize the enlightened are Schöpfersein. Therefore subject to even enlightened disease, aging and death. For them, this is a fact of life. This applies only to recognize and accept it, then there would be no more desire for change. The enlightened ones fail, that we are creators and we our Schöpfersein in all walks of life to application can bring, and may even require. Thus, illness, aging and death are only illusions that overcomes every human being through his rise in the fifth dimension.

There are nine levels of enlightenment. On the ninth and highest level is a human being is a vollverwirklichter Buddha.

Bullet Speed Hunting Rifle

Mozart: All the songs

Mozart loved the singing, the human voice, he used it as an instrument of musical statement, it dominated his compositions from beginning to end. Vocal works - 18 completed operas and musicals, plus some 50 arias with orchestral accompaniment as well as polyphonic chants and canons, 18 exhibitions, including "Requiem" to litanies, vespers, oratorios, cantatas and other sacred works with vocals - taking his total oeuvre of a central place, and this is certainly not alone due to the external fact that the most direct and "easiest" way to fame was for a composer of Mozart's time, to write operas. Within this oeuvre the thirty songs that Mozart composed, quantitative, not more than a small side issue - seemingly random waste on a construction site, was working on other projects. The genre of piano accompaniment solo (art) song
was in its infancy, what up there in the so-called Second Berlin songs school by the composer
Abraham Peter Schulz , Johann Friedrich Reichardt and Karl Friedrich Zelter was created, devoted himself more or less the ideal simplicity of folk song and was on the musical needs of an enlightened Cut middle class, which called for his in the salons and parlors dilettante members to catchy and "uplifting" songs. While there have been attempts and experiments in other directions: for example, Christoph Willibald Gluck tried in 1785 published "odes and songs to sing at the piano" by the choice of artistic, tall, pompous style of poems written Klopstock and the complete alignment of the music on word stress and Versmetrik at a "antique" style, while the Swabian Johann Rudolf Zumsteeg in his sweeping ballads compositions, which the young Schubert greatly impressed and influenced, already the direction of the non-strophic "Durchkomponierens" struck. But the time in which the song should emancipate themselves for personal, intimate, romantic and lyrical expression, lay in the distant future.

is around this image of Johann Georg Edlinger it a lively discussion. Show it Mozart? Or rather, a Munich alderman? The painting was shown in 2006 in the great Mozart exhibition in Salzburg, Mozart and decorated with a reissued biography of the Henschel-Verlag. more about this in an article in Time. But why Mozart wrote it at all songs? To answer this question it is helpful to consider the circumstances of its creation in detail. First there are external events: There were inquiries from publishers, and almanacs (in Mozart's lifetime, 14 of his songs printed), social events ("the little Frederick's Birthday" for the Prince Frederick von Anhalt-Dessau
, "Song of the extract in the box on the occasion of the Turkish campaign of Emperor Joseph II) and orders and requests from friends and family - "friends plays" called Mozart, the resulting songs himself, including for example in connection with his
Masonic sentiment and activity resulting work " The ceremonial Johannisloge "and" Song for travel companions. "The two songs in French Texts ("Oiseaux, si tous les ans", "Dans un bois solitaire"), he composed for the most attractive Gustl Wendling, daughter of the Mannheim flutist Johann Baptist Wendling who gave him the texts themselves. You must also have been an excellent singer, as one of the two songs she sang after Mozart's own verdict "incomparable." To act friendly service truly special it is the wonderful song "The dream", and the equally brilliant "When Luise burned the letters of her unfaithful lover" Mozart was both his friend Gottfried von Jacquin, whereupon said she made up with four songs his own words in his name published and two of his many devoted friends - Mozart had it expressly "assigned" the authorship. But maybe it did not need more of the specific event in order to turn the song, to a certain "unmediated" interest in the genre following statement by Mozart's sister "Nannerl" notes after his death: "People of Mozart manuscript collections written beautiful songs (= poetry!), as it came into his hands in order to compositions can sometimes. "


Constanze Caecilia Josepha
Maria Johanna Aloysia Mozart (1762-1842), born Constanze Weber, daughter of Franz Fridolin Weber, Wife of Wolfgang Amadeus Mozart and cousin of Carl Maria von Weber (painting by Joseph Lange , 1782). "Longing for Spring" (KV 596) as a folk song became perhaps the greatest name recognition of all the works of Mozart. So childish, cheerful and carefree character of the song is so perfect is its compositional structure. Melody, harmony and periodicity correspond exactly to what the theory of composition exemplary as a "simple song form" means. But in the end is something that makes this song also serve as a unique stroke of genius: A fanciful piano postlude in the manner of a ritornello, that created quite pianistic, with Staccato funny, bold, intricate detailing and a lively final dance-Dreher breaks the comfort of what has gone before and undermined. The foregoing would have some second-rate composer of the 18th Century can invent, the sequel only Mozart. The melody of the song he has in the final sentence of his last piano concerto used again, there however with different phonetic Valeurs and emotional shading, testifying that he "desire" means not only naive, childlike and unbroken understood, but certainly full of ambivalence , with that bittersweet expression that later became a main "sound" of Romanticism.



WAMozart children: Franz Xaver Wolfgang (left) and Charles Thomas (right) Michael Palomino has in strong terms the "child abuse in the Mozart family" scourged ". Is forced to music in childhood, child labor and should be prosecuted according to law" and "Those people who make no music, live in this family typically the longest." The "concealment" (KV 518) and "The Wizard" (KV 472) are composed to poems of the "Anacreontics"
Christian Felix Weisse
. His texts with the typical shepherd idylls figures "Damon" and "Chloe" Mozart was inspired to masterful miniatures, the musical in its design with a few notes fine characterizations of the situation and give the properties concerned. It has the music enough "flexibility" to meet the requirement for variable, respectively textbezogenem presentation of the individual verses. Typically, the final twists of the two poems: the first ("and he is young, / and she is beautiful - / I'll say no more") set to music Mozart incomparable with a music hyphen and a gallant injury, that express no more everything disclosed. In the famous "Wizard" rhythm and melody of the vocals are on the case of the last line of verse in such a way that the decisive turn of the last stanza ("There came, fortunately, the mother") is almost inevitable that sounds as though the girl for the appearance of the mother was anything but "happy" and desirable. Thus, the composer proves ironic commentator on the poem and seeing White punishes the moralizing end of the story with his music lies. "The song of separation" (KV 519)
and "Louise's response" (D319) form a curious literary couple. In Klamer Schmidt elegiac, in fifteen verses long constantly repeated refrain of "maybe forever Luisa forget me," replied Louis
Theobul Kosegarten s poem "Louise's answer" No, never Wilhelm never forget Luisa you "in nineteen-time assertion by as many verses of fact, the" song of separation "an unusual structure: It begins as a strophic song, (which the performers, the praiseworthy way opened to reduce Klamer verses inflation clearly), sheared in the center suddenly free in a through-composition of, by the end of verse melody of the start screen. Even the music is evidence of strong internal involvement of Mozart, it sounds internally agitated and restless, and quite musically appear theatricality is not wearing her opera-like, but is compaction and emotional emphasis. "Louise's response was set to music by Franz Schubert, with distinct musical notes of Mozart, suggesting that he might even know the composition, which requires the recording of the Schubert song was in this context, literary and musical sense seem interesting.



The ten-year-old Mozart, painted in 1766 in Paris by JB Greuze At this late detected child picture Mathilde Ludendorff written an article that was published in 1953 under the name of John Langenberg. "Satisfaction" ("What I ask a lot of money and property", KV 349)
exists in two versions, one with a mandolin, once with piano accompaniment, Mozart the vocal melody, in general the same course, has carefully adapted to the different circumstances of the accompanying instruments: - probably original - mandolin versions is easier to hold folk song as the musically and sonically richer, later piano version.
The "song when you move out into the field" (KV 552) is probably to be regarded as a commission. It should make the youth for the Turks unpopular campaign

under Emperor Joseph II in 1788 mood. Whether Mozart took order and subject very seriously, it makes us doubt his music in a subtle and humorous way: the great general pause just between "... called Joseph his armies" and "they came running wing-fast" seems rather like an irritating delay in the supposedly so quickly and willingly made up of the army, and the violent and somewhat grotesque in between jumping cross-reading is the beginning of the piano postlude certainly be trusted subversive potential. The following three songs we get probably the absolute zenith of the little Mozart's song oeuvre: Especially as finished work of art in the symbiosis of text and music, "The Violet" (KV 476) - and unfortunately it is the only song Mozart on a literary high-level text! He is on these randomly in a 'Collection of German songs "encountered, where the poem was printed incorrectly even by the name of Johann Wilhelm Ludwig Gleim
. Why not for Mozart-quality poetry sought, there can only be speculated. Ultimately, he sought inspiration in the poems probably less or artistic challenge, but rather only a matter of pure musical composition. What could have become if he had embarked on Goethe and other poets of his caliber, shows us "The Violet": A perfect song in the form of a dramatic scene that has all the characteristics of the highest art of characterization: the sensitive, modest increase, but powerful male ending theme the violet (that of a loving young man), the Prancing motif of the shepherdess, her beautiful voice we hear in the interlude of piano, the dramatic escalation to the disaster and the death of the downtrodden, betrayed violet, the compassionate commentary of the narrator ("the poor violet "), the rounded form, while distancing final movement - all that is up to the smallest note perfect and compelling.


The popular Mozart pictures are very different, so it sometimes seems certain that even the same person is shown. Media Culture Online has compiled an annotated picture gallery. "The dream" (KV 530) is elegiac and longing, tender love song, akin in tone, expression and motivic details Cavatine
the Countess from the
Figaro. Whether the aforementioned vision of reality can ever be found, let the words and music in the air. "Evening sensation at Laura" (K. 523) may be regarded as Mozart's most personal song writing. The death theme he had raised in 1787 in a letter to his father this way: "... since the death, to take exactly the true goal of our life is, I've been a few years with the true, best friends of man made so well known that his image is no longer frightening to me, but is indeed very calming and comforting, "This attitude speaks of Mozart's setting of Johann Heinrich Campe attributed poem, without denying a certain amount of anxiety and sadness in the face of death idea . The poetic thought, therefore, grows out of the "moon silver gloss" the presentiment of death of the 'lyric I', from the tears of the friends of his death, the pearl of the commemoration, the co-feeling of sympathy in the broadest sense, and that this bridge arises between the living and dead, is set to music so obvious as touching by a characteristic falling
seventh, the first in the singing at the beginning of the song - sounds ("... radiates shiny silver") and runs through the entire composition to the "most beautiful pearl in the end.
The final fragment "I'm lonely, my love" (KV Annex 26), despite its brevity, a valuable piece of music. The grief expressed in the few tones, is actually abysmal - act like the eight bars a short, startling revelation of the darkest side of Mozart's feelings. Here the fragmentary form seems to make sense and also as part of statement of artistic structure: Something is missing - someone is missing, and the gap is not to . Fill
Source: Ulrich Eisenlohr, (reduced Stark, the original comments on each song) in the booklet




TRACKLIST

 
 Wolfgang Amadeus Mozart  (1756-1791) Complete Songs 
 
 
 
 CD 1 [53:40] 
 
 
 01 Longing for Spring, KV 596 * [02:34]  (Text: Christian Adolph Overbeck) 
 02 The spring, KV 597 ** [03:00] 
 (Christian Christoph Sturm) 
 03 The children's game, KV 598 * [01:48] 
 (Christian Adolph Overbeck) 
 04th The ceremonial Johannisloge, KV 148 ** [2:18] 
 (Ludwig Friedrich Lenz) 
 05th Song for travel companions, KV 468 ** [2:19] 
 (Joseph Francis of Ratschky) 
 06th Cantata: The immensity of the universe, your creator 
 honors, KV 619 ** [06:46] 
 (Franz Heinrich Ziegenhagen) 
 07th How unfortunate I am nit, KV (author unknown) 147 * [00:55] 
 
 08th Come, dear Zither, komm, KV 351 ** + [02:05] 
 (author unknown) 09th 
 The concealment, KV 518 * [04:12] 
 (Christian Felix Weisse) 
 10th An Chloe, KV 524 ** [02:30] 
 (Johann Georg Jacobi) 
 11th The magician, KV 472 * [02:13] 
 (Christian Felix Weisse) 
 
 12th The song of separation, KV 519 ** [4:50] 
 
 (Klamer Eberhard Karl Schmidt)  13th Franz Schubert: Louise's answer, D.319 * [03:09]  (Ludwig Theobul Kosegarten / Franz Schubert) 
 14th The world betrayed, KV 474 ** [03:15] 
 (Christian Felix Weisse) 
 15th When Louisa's letters her unfaithful lover 
 burned, KV 520 * [01:39] 
 (Gabriele von Baumberg) 
 16th Song of Freedom, KV 506 ** [2:19] 
 (Aloys Blumenauer) 
 17th Oiseaux, si tous les ans, KV 307 * [01:30] 
 (Antoine Ferrand) 
 18th Dans un bois solitaire, KV 308 ** [2:51] 
 (Antoine de la Motte Houdart) 
 19th Josef Myslivecek (arr. Mozart): 
 rident la calma, KV (author unknown) 152 * [03:16] 
 
 
 
 CD 1, Track 12: The song of separation, KV 519 
 
 Odin Lothar, tenor - Ulrich Eisenlohr, piano   
 
  CD 2 [43:07] 
 
  satisfaction: What do I ask a lot of money and property after , KV 349 ** 
 (Johann Martin Miller) 
 
 01 [Version with mandolin accompaniment] + [02:37] 
 
 02 [Version with piano accompaniment] [01:44]  03 Ode to Joy, KV 53 * [02:57]  (Johann Peter Uz) 
 04th Owes it was the splendor of the great, 
 KV 392 ** [2:27] 
 (Johann Thimotheus Hermes) 
 05th Be my comfort, KV 391 * [02:42] 
 (Johann Thimotheus Hermes) 
 06th I would on my path, KV 390 ** [1:58] 
 (Johann Thimotheus Hermes) 
 07th Satisfaction: How gently, how calm 
 I feel here, KV 473 * ** [02:55] 
 (Christian Felix White) 
 08th The old woman, KV 517 * [03:17] 
 (Friedrich von Hagedorn) 
 09th The little spinner, KV (author unknown) 531 * [02:16] 
 
 10th Song when you move out into the field, KV (author unknown) 552 ** [1:42] 
 
 Two German hymns, KV 343 
 (author unknown) 11th 
 O Lamb of God, your life * [02:00] 
 12th As Israel from Egypt ** [01:39] 
 13th Frederick's of the little birthday, KV 529 * [02:19] 
 (Johann Friedrich Eberhard Schall) 
 14th The violet, KV 476 * [02:37] 
 (Johann Wolfgang von Goethe) 
 15th The dream, KV 530 ** [3:56] 
 (Ludwig Heinrich Christoph Hölty) 
 16th Abendempfindung to Laura, KV 523 * [04:43] 
 (Johann Heinrich Campe?) 
 17th I'm lonely, my love, KV Anh.26 ** [01:08] 
 (Fragment, unknown author) * 
 
 
 Ruth Ziesak 
, Soprano 
 **  Odin  Lothar, tenor 
 +  Ariane Lorch , Mandolin 
  Ulrich Eisenlohr , piano (all tracks except +) 
  Recorded 25th to 30th September 2006, and 12th to 14th February 2007at the Germany Kultur Studio, Villa, Siemens, Berlin and LankwitzProducer editor: Jens Schünemann engineer: Martin Eichberg cover image: Still Life of Roses and Gladioli, by Ellen Mary Rosenberg (19th Century) (P) & (C) 2008  
 
 
 

facsimile of one of the Baesler letters Read the cousin's letters, published on the homepage cousin from the far north. And still more links ...

Mozart's songs were published in 1800 in Leipzig by Breitkopf & Hartel as "30 songs with piano accompaniment", a reprint of the first edition is in Carus-Verlag
and is also offered
antiquarian . The Mozart monument is a Vienna landmark. The tourist guide is a detailed, well illustrated description, including the historical background
its establishment, has been published.
Dieter Scholz replaced David in his article "The Myth of Mozart," the "conjecture about Mozart and his life."

Comandantina Dusilova - called "The Bureau" - is the weblog of the Viennese writer, director and illustrator Andrea Maria Dusl. She has the "Wolferl" Headphones missed.


CD Info & Scans (tracklist, cover, booklet, lyrics, music samples, Bonus Pictures), 49 MB
Read the file "Download links.txt" for links to the Ape + Cue + Log Files

CD 2, Track 01: The satisfaction, KV 349
Odin Lothar, tenor - Ariane Lorch, Mandolin

Behind The Green Door Watch Stream

Mozart: Clarinet Quintet & Trio Kegelstatt

The children immediately recognize if they are velvet paws on the bird approaches: the cat in Prokofiev's Peter and the Wolf . Your musical theme is played by the clarinet. The Americans cheered as Ross Gorman the Rhapsody in Blue initiated with a Klarinettenglissando. All clarinet players in the world made it to him later. And who has not at some time heard, the legendary champion of jazz and swing - Benny Goodman - who knew how to play classical clarinet. The clarinet, a young instrument, has won its place in the concert literature - thanks to her lover among composers, thanks to their players. Let's go back in time, we meet on a clarinet player whose skill is due to a work of world literature: Anton Stadler (1753-1812)
. For these "good fellows" Anton Stadler, Mozart wrote the Clarinet Quintet and his brilliant Clarinet Concerto (both late works).
The
clarinet in Mozart's time was still a relatively young instrument. It was developed around 1700 by the Nuremberg instrument maker Johann Christoph Denner
as improving Chalumeau . As the sound of the instrument in a high position the Clarin trumpet resembled got it the name "clarinet". The clarinet continued to be slow. Until late into the 18th Century, as a solo clarinet and orchestra instruments, as in many places not a given. Sun in December 1778 Mozart wrote from Mannheim to his father in Salzburg: "had, alas, when we [in Salzburg] and clarinets only - they do not believe what makes a symphony with subsided, oboes and clarinets a stunning effect."

sketch of the historical Music Instruments "Chalumeau" after a figure in the "Encyclopédie" of Diderot and d'Alembert (1767) Mozart clarinet was the first time in 1771, 113 to expand his Divertimento in E flat major KV If it clarinets were available, he used them regularly in orchestral or wind ensemble. As a consistent solo instrument, the clarinet comes in Mozart's oeuvre, but only three times in appearance, namely the so-called cone instead trio K. 498 from 1786, the Clarinet Quintet K. 581 in 1789 and the Clarinet Concerto K. 622 from 1791. All three works we owe to Mozart's friendship with the clarinet virtuoso Anton Stadler.
Anton Stadler stood since 1782 as a staff clarinetist in the imperial service. He was a respected musician who gained but also services to optimize the sound of the clarinet. He has also developed in the extended range

basset clarinet. For the instrument Mozart wrote his clarinet two most famous works: the Quintet K. 581 and Concerto K. 622nd Stadler's basset clarinet could not prevail. Therefore, both the quintet and the concert were later reworked by someone else for the conventional clarinet. Mozart's original versions are unfortunately lost. Despite recent reconstructions of the more frequently performed works by basset to be known both compositions but mostly only in the revised version.


clarinet in 1750, wrote from the Encyclopédie of Diderot and D'Alembert (1751-1770) Quintet for Clarinet, 2 violins, viola and cello in A major (KV 581) Mozart

it in September 1789 for the clarinetist Anton Stadler friends, the autograph is lost. Over all 4 movements (Allegro - Larghetto - Andante - Allegretto con variazioni) is a matchless magical sound and it arise uncommonly beautiful blend of colors between the wind instrument and its subtle differences and savored register the homogeneous string quartet. The clarinet dominated just as much as possible the boundaries of chamber music is to the principles of Konzertanter RECALLING rather than that they are highlighted soloists. And if, as in the opening sonata movement, the clarinet in the 2nd Really melodic theme once fully out, then the strings at once to develop a completely new and unique quality of the accompanying sentence, or even lying in syncopated harmony with fragrant plucked cello. The stylistic device of counterpoint are now so natural in Mozart's late style melted down, that they seem to be emerging as if by themselves, such as 4 voices in the dense set of the main theme.
In
Larghetto (D major)
stirred Mozart's delicate emotional expression regions, long-span arches of the clarinet melody floating weightless on the exception (in addition to the cello) damped strings. - The minuet has unusually 2 trios: a melancholy together in A minor for String Quartet alone and ländler misconduct for all 5 instruments. - The final variations of Mozart's unique mastery, simplicity and craft shows to seamlessly blend together. The 4th Variation (Adagio) reminded once again of the depth of the 2nd Record before the Allegro acceleration again takes up the issue exhaustively.


parts of a modern clarinet
Trio for Clarinet (or Violin), Viola and Piano in E flat (K. 498)
If we believe the tradition, then, Mozart composed the Trio in E major, K. 498, during a bowling match in the summer of 1786. Hence also the nickname of "Skittle-Trio. To what extent the anecdote equivalent to the conical section of the truth can not comprehend anymore. But one can assume with some certainty that the composition was determined for a performance of Mozart's private environment. The piano part has probably been thought Mozart's former pupil Franziska Jacquin and the clarinet part to his friend Anton Stadler. The viola took Mozart himself
sprang the version for violin probably the commercial interests of the Viennese publisher
Artaria
, which was located on a wider circulation. However, this music sounded all her charm unfolds in only the clarinet version. Unusual order and system are the 3 sets (Andante - Menuetto - Allegretto): The quiet - not really "slow" - part is at the outset but he gets his fascinating density by a single speaking thoughts, with the advertised double strike as motivic core.
The mean minuet (B-flat major) is infinitely far away from his home court, it is hidden, as well as his G minor Trio, with its lovely, relaxing melodic surface miracle of subtle counterpoint. The final Rondo, with its lively declaiming minor middle section is a model of internal and external balance, the piano holds back admirably his concert skills without the musical enthusiasm seemed limited in the least.

Sources:

Christine Mitlehner: Program booklet texts for organizers of classical music

Jörg Wyrschowy, Foundation of German Broadcasting Archives (DRA) 2005
Arnold Werner-Jensen, in: Reclam chamber music leader, 13 Edition 2005, Philipp Reclam jun. Stuttgart, IBSN 3-15-010576-5, Seiten 404 und 427-428


TRACKLIST

  
 Wolfgang Amadeus Mozart (1756-1791)   
  
   Quintett für Klarinette, 2 Violinen, Viola und Violoncello A-dur KV 581 
  
 (1)  1. Allegro                         9:18 
  
 (2)  2. Larghetto                       7:07 
  
 (3)  3. Menuetto - Trio I/II            7:06  (4)  4. Allegretto con variazioni I-IV        - Adagio - Allegro              9:24 
  
 Gervase de Peyer, Klarinette 
 Amadeus Quartet 
 Norbert Brainin, 1. Violine 
 Sigmund Nissel, 2. Violine 
 Peter Schidlof, Viola 
 Martin Lovett, Violoncello 
 
 
 Trio for Piano, Clarinet and Viola in E flat major, K. 498 "Skittle Trio" 
 
 (5) 1 Andante 6:15 
 (6) 2 Menuetto 5:35 
 (7) 3 Rondo: Allegretto 8:27 
 
 James Levine, piano 
 Ensemble Wien-Berlin 
 Karl Leister, clarinet 
 Wolfram Christ, viola 
 
 
 Adagio and Rondo for Harp *, Flute, Oboe, Viola and Cello in C minor KV 617 
 (* Original for Glass Harmonica) 
 
 (8) 1 Adagio 4:34 
 (9) 2 Rondo: Allegretto 6:53 
 
 Ensemble Wien-Berlin 
 Margit-Anna Suss, Harp 
 Wolfgang Schulz, flute 
 Hansjörg Schellenberger, oboe 
 Wolfram Christ, viola 
 Georg Faust, cello 
 
 
 Total playing time 64:39 
 
 ® (1) - (4) 1976 ADD 
 (5) - (9) 1992 DDD 
 
 
 
 

William Hogarth: The Enraged Musician, 1741 (plant description, Tate Collection) book:

Lichtenberg Hogarth, Edited by Wolfgang Promies, Carl Hanser Verlag Munich Vienna 1999, ISBN 3-446-18940-8

After Lessing and Goethe met before the Göttingen physicist and philosopher
Georg Christoph Lichtenberg (1742-1799)
on the leaves of the English satirical illustrator William Hogarth (1697-1764) and wrote comments, which he published regularly in the "Göttinger Bags Calendar." Since he does not print in the small book format, the large leaves could, he was guided by Ernst Ludwig Riepenhausen (1765-1840) enlarged excerpts stand in copper and bridged for the viewer the means of its lack of language skills and his puns. Because he later parts of this genius piece of "detailed explanations" advanced, the more numerous, but shorter and more concise taken Calendar statements almost forgotten. Wrongly, as it turns out: the complete reproduction of the texts of all Riepenhausen stitches and complete Hogarth tables makes this book a unique combination of reading pleasure and visual treat. Excerpt: pages 259 to 261:

OF APPLIED MUSIC (THE MUSICIAN PROVOKED);

Also, as in our copy,

of music in WUTH
(THE MUSICIAN ENRAGED)
. From this sheet, as we say: it would numb, better to hear his own word, not when it is looked upon. And really is some truth to it. Freyesque give our Papers C, D, E, only a very faint idea of Hogarth's idea. They contain a pair of individual voices of a music that can be judged just from the score. There are a couple of roof tiles of the house brought to trial in order to make someone feel like the whole.



(C)

(1) If the violinist and composer, around in front of his apartment, and stating, breaks out more by accident than design the game ends a Orcan of dissonance with unmelodic rage the hero of the piece. There is a certain Mr. Festin be, Festino not know if I seems to have rectified the whole, against the Italian opera. Also, the hero something Italiänisches in the air. We now want to see just what makes him into a rage, and why he here applicirt his fists on his own ears, which he to judge from his face, probably would prefer to play along with the Fiddelbogen to the ears of the singer in front of his house. So here are the names of the players in the orchestra. To the left on an iron lantern pole a Papagay to prononciren of some of the sharpest particles in his language seems, with him on the reitz ballad singers (3) with the hired child (4), at the feet of them without noticing the accompaniment pinches, un respect to this the Bock (2) the one Hautbois
to Mäcken seems.
(D)

Then (1) the milkmaid
, beybringt Hogarth here as a beauty in a rural high cleanliness. They are also usually these creatures, they and the neat milk they carry, borrow alternately mystical and Reitze advertise for each other. But here is the good girl just because of the ugly tone with which she proclaimed her milk. It sounded to me like Mijulk, Mr. Ireland a recent interpreter of Hogarth, who can know better, writes the exclamation Belouw. The guy with the half moon (3) is a
Sauschnitter , an expert on music (2) A Scheer grinder, but here the a broad sounding chopper improved. Beside him sits a dog, which pleases the music any more than Mr. Festin, and looking to stun with its own howl.

(E)
(1) If the head of a small French austrommelt main cylinder, the rarities. (2) A little girl who turns a rattle, and the game looks on a boy who has tied to his belt a large slate, which he drags along the pavement. All music. (3) If the garbage collector who always Dust ho! Dust Ho! Dust calls. (4) A guy being a sort of flat fish (Flounders) with an expanded
last syllable as Floundaaars schreyt. Behind this, a patch. In the house next door lives a plumber, to remember well, a London surgeon, always ten hammers out drive against Germany in their lulling game. On this home plumber Zwey give cats a song contest, wobey a chimney sweep boy from the chimney accompagnirt.
should believe you now, Hogarth had exhausted all sources of discord between heaven and earth, as it has come from the pavement to the chimney-corner. But he rises even higher, which is on the church tower itself where the bells tolled for Feyer, and that these are rung, you can see from the unplugged flag, which is immediately revoked if the ringing over is. English bells, however, is a melody to tödtende accustomed ear, monotony. Bey our bells ringing gives one but the chance still sometimes a good Accord, and it is sometimes hard to hear unpleasant, like a minute long tangle finally auflöset into an Accord, alone with the English bells, this is not even possible, for follow the same tones always in the same order as completely when one heard the five vowels in a row herschreyen hours in school just fine. Since there are commonly five bells, so the comparison is more appropriate.
At the corner of the house which looks Festin, a Comödienzettel is bonded. It is The Beggar's Opera

is announced, and although today 62ten meal. This trait is zweyschneidig. Einmahl Look, Signori Italiani, here you an opera of Old English plant, and applause, and yet our Alexander, Caesar's our guy, all cut to the bass, and not those penny-Flageolettchen like yours. And then it can also say: you Lord with responsibility to ensure: that the city is not bad happens, we can clearly see that it is difficult holding peace and quiet to get on national roads. Children must be, and therefore also noise of children, as well as dogs and dog noise, we like to enjoy the pleasure of the rag pickers us how the virtuoso (2) C to stand for half an hour under our window and bring us with his pipe to other thoughts. The Rag Man reminds us of the fragility of our clothes superb, that's the best third of our whole being, is also with us (writers) on the same wire, although on the lowest season of it, I mean the scale of the great literature-space. He collects and we disperse - and sometimes even toot apart what he has zusammengedudelt. All this is still forgivable, Hogarth will tell, but let the beggar's opera 62 meal perform a row! Take heed, gentlemen, this is a rogue school, and have you to answer to God. So much of
The beggar's opera.
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CD Info & Scans (tracklist, cover, booklet, samples, Bonus Pictures), 26 MB
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Track 2, Clarinet Quintet K. 581 - II Larghetto