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
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