. 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
Read the file "Download links.txt" for links to the Ape + Cue + Log Files
Track 2, Clarinet Quintet K. 581 - II Larghetto
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