The six works recorded here represent hardly represents more than two years from Wolfgang Amadeus Mozart
This is the time of the Nozze di Figaro
andDon Giovanni that time also its greatest public fame, though things gradually since mid-1788 took an obvious turn for the worse. The Turks unnecessary war
Emperor Joseph II dabble in the public life of Vienna to be felt, as the money was just for entertainment, and Don Giovanni in Vienna had not experienced the success he had in Prague to celebrate (he was technically difficult for the musicians), and despite his incredible diligence is indebted Mozart. Before the age of copyright life itself for the most successful musician was uncertain.
MM Prechtl: Mozart in Mannheim
trio were a key instrument of Mozart's earliest products. A series of six pieces (K. 10-15) was published 1764 (will say: Trio Sonata) in London under the title "Sonata" as his Opus 3 in print. Another contribution was the beautiful Divertimento KV 254 of 1776 - in almost every way, just not in name a piano trio, from the later works only with a less self-guided cello part is different. The five trios for piano, violin and cello from the years 1786 and 1788 are remarkable in several respects: first, the cello plays a more liberated, although still not really prominent role, others have piano and violin brilliantly to meet virtuoso tasks. The trio formed in July 1786 in G major, K. 496 Mozart called himself the title of the manuscript as "Sonata", the title is a joke. The play does in the first 17 bars just like a piano sonata. Then, surprised at bar 18 of the use of violin and cello (you could list the trick is still enrolled at a private company). A solo piano plays well at the beginning of the slow movement, the model for the use of votes is the beginning of an opera companies. While developing the proposition, it is up to the nocturnal world in Act IV of Figaro, not far off. The finale is a sequence of variations on a theme contredanseartiges that is more like a dramatic narrative than sake of opposing effects is developed.
MM Prechtl: The good shepherd Amadé
The first movement of the B-flat major Trios K. 502 (November 1786) is very brilliant, is there are hints of both the "Gypsy" style as well as the Mozart alla turca, in the early eighties was like his trademark. It also shows the notation of Beethoven's violin sonatas is anticipated. Rarely there are Mozart's tempo markings, which are slower than Andante (= continuous), but here closes (= slow, with a certain width) as a slow movement Larghetto full of patient tenderness. The finale is a duo concertante for piano and violin.
The first movement of the Trio in E major, K. 542 (June 1788) is impressive serenity - another one of those moments in which Mozart himself before Beethoven behaves almost like Beethoven. The Andante grazioso however, approaches the naive idiom of
Magic Flute. The largest Weight of the invention can be found in Mozart, usually at the beginning of a sentence, in the bubbling Rondo-Finale of this trio, the composer but to save some fireworks for last. He seems to have thought at the time of composition at all, because the same can also
watch the final of the C major Trio KV 548 , which he signed three weeks later in his Verzeichnüß , however this same work also marks a significant step forward, since it is the first of these pieces in which the Vioioncello emerges as a prominent voice. The main theme of the first set to play the drums and trumpets, which were often used in C major.
MM Prechtl: obedient servant, my ass is not a Viennese the center of the G-major Trio, K. 564 (October 1788) is an impressive set of variations, in a solo each instrument is assigned. This is surrounded by the rural scene of the first movement with its bagpipe tones and an exuberant ballroom Final.
This nostalgic thread runs through also - perhaps more worrying - the first movement of the famous "Skittle" Trios K. 498, which Mozart composed in August 1786. Here intertwine and break up simple issues, however, a distant rumbling thunder. The "Skittle" trio got its name because it is Mozart composed during a bowling match (Or at least written down) should have. The same age, little-known twelve duets for horns KV 487 were in any case, as the composer himself noted in the manuscript, "lower conical disks. Very often was the transcript of the music of Mozart, a mechanical, tedious duty, and it is quite possible that he spent in this way one of the-hearted summer of his life.
MM Prechtl: Dearest best Bässchen or Violoncellchen Another tradition wants that the piece was created for Franziska von Jacquin, the daughter of the Imperial professor of botany
. From Mozart's letters indicate that he at that time was often a guest at the Jacquin house, and from the unusual feature of the score - namely, that ail three sets at a moderate pace are kept - one could infer the involvement of an amateur pianist. At the premiere Mozart would have played the viola, which he is said to have preferred in the years in Vienna as a string instrument. His close friend, the virtuoso Anton Stadler , played the clarinet. The unusual technical limitations of the play seem more inspired Mozart to have a disability: The "Skittle" Trio is one of his most sublime chamber works. Source: John Stone (translation: Eckhardt van den Hoogen), in the booklet, page 7-9
TRACKLIST
Wolfgang Amadeus Mozart Piano Trios 1756-1791
piano trios avec piano Trios
Compact Disc 1 68.40
Piano Trio in G K496 Piano Trio in G major
Trio avec piano en sol majeur
1 I: Allegro 7:52
2 II: Andante 7:28
3 III: Tema con variazioni: Allegretto 9:48
flat Trio in E K498 'Kegelstatt 'for piano, clarinet and viola
Trio in E flat for piano, Klarinette und Viola
Trio in E flat major for piano, clarinet and alto
4 I: II Andante 6.35
5: Menuetto - Trio
5.26 6 III: Rondeau: Allegretto 8.18
Piano Trio in B flat K502
Klaviertrio B Hard
Piano Trio in B flat major
7 I: Allegro 8.14
8 II: Larghetto 8.17 9 III: Allegretto 6.20
CD 1, Track 7, Piano Trio B-Dur K502, I. Allegro
56.23
Piano Trio in E K542-E Klaviertrio hard
Piano Trio in E major
1 I: Allegro 7.50
2 II: Andante grazioso
3.54 3 III: Allegro 7.18
Piano Trio in C K548 Piano Trio C-dur
Piano Trio in C major
4 I: Allegro 3.7
5 II: Andante cantabile 8.47
6 III: Allegro 4.28
Piano Trio in G K564
Klaviertrio G-dur
Trio avec piano en sol majeur
7 I: Allegro 4.54
8 II: Tema con variazioni: Andante 6.27
9 III: Allegretto 5.19
Daniel Barenboim piano
Nikolaj Znaider violin
Kyril Zlotnikov cello
Matthias Glander clarinet (K498)
Felix Schwartz viola (K498)
Recorded/Aufgenommen/Enregistré: 12-14.IX.2005, Teldex Studio, Berlin
Producer/Produzent/Directeur artistique: Martin Sauer
Recording Engineer/Tonmeister/Ingenieur du son: Tobias Lehmann
Editor/Schnitt/Montage: Rene Möller
© + ® 2006
DDD
MM Precht: Mozart's Letters
All images in this post come from the Nuremberg painter, draftsman and illustrator Michael Mathias Prechtl (1926-2003), in the spring of 2001 through the extensive
exhibition "Prechtl's World Theater" in the German Historical Museum was honored. The graphics were concerned Mozart as book illustrations to cousin's letters : from the 1777 and 1781 nine letters of Wolfgang Amadeus Mozart to his cousin Maria Anna Thekla Mozart
have received. In its correspondence to the "Basle-Häsler" liberated Mozart himself for a moment from the constant pressure of his uncertain future. Here he lived and brought the frivolous, ridiculous side of his nature in sound. Famous are the cousin's letters because of the direct and generous, sometimes dramatically tough, studded anal-erotic fantasies of language. Prechtl created in 1990, his five watercolors on handmade paper from the second half of the 18th Century. He particularly was the tone of the letters. Mozart's hilarious voice compositions, he transposed into the picture by surreal and fantastic shapes. Body are music, so it seems, "body music".
Prechtl MM: Self-image in the April 80
Michael Mathias Prechtl : self-image in the April 80 (1980) At first everything seems clear. True to reality itself is the self-presentation of the painter. Naturalism is driven far that even the finest hairs gray beard is yet to be made right. Critically, the artist looks at the world goes to her at a distance, to place an independent and incorruptible witness to it.
However, the naturalistic appearance is deceptive. And for several reasons.
That's not true proportional ratio of the body. The head with the huge beard is too large. This disparity could be mistaken as a means of caricature interpret the self. In fact, the artist ties that shape the tradition of Flemish portraiture. Breast portraits from the artist's workshop of the Master of
Flémalle
or Jan van Eyck illustrate this, the posture, the Prechtl program, is also caused by the mirror. Therefore we encounter it often in car portraits.
MM Prechtl: Hans Sachs by Richard Wagner occupied
Prechtl's self-portrait has an equally high degree of similarity on. However, annoying in the utmost perfection, presented with naturalistic representation of the attributes that artfully Bart and are inserted and clothing, as it brought the shirt with the merger. Who is this medieval warriors armed with swords, which irritates the bull like a matador with a red cloth? What are the attributes? Are they symbols? If so, what for?
A look at the history of Western European art of the late Middle Ages possible answers. The Knights figure with the flowing blue shoulder cape, the credit to the artist to make a fashion accessory, represents the archangel Michael
Fast quotes unchanged Prechtl this Character in a famous painting: The case of the rebellious angels
by Pieter Brueghel the Elder (1527/28 -1569?).
MM Prechtl: Cupid and Psyche examine Dr. Freud
The only differences: the red cloth that the shield, and the bull, which replaces the monster. But why a bull? And in what is the relationship between animal, archangels and painter? One similarity is obvious. Archangel and artists are namesakes. Both called Michael. That's not all. The Archangel Michael was in the Middle Ages the patron saint of painters. The sun sign is Taurus - Prechtl was born in April 1926 - and symbolic animal same time. And he is the attribute of another saint, St. Luke , patron of the painters guild.
Luke is one of the four evangelists. In the Middle of the four evangelists each added a
animal symbol. In Luke it is the bull. It symbolizes the inspirational force. Two types of Luke's presentation were common in the art of the late Middle Ages: the seated scholar who brings the sacred writings on paper, and the painting of the Virgin Mary
which he sits with the child "model". Often it is the bull.
Prechtl MM: The completion of the painting in the Upper Palaeolithic, the Altamira painter at work
suggests the attribute of the bull that represents Prechtl in his self-portrait as St. Luke. That this is a "role play" is listed. We see Prechtl sitting at the table, about to take his brush with his thoughts on the paper before him. Both mentioned types of representations of the evangelist image are Prechtl's self-portrait to a picture, "pulled together". It is the thinker at his desk and show the artist (in his workshop), whose gaze is averted invisible from just outside the (image) space, for us. The combination of both display types, Prechtl presented as a thinker and painter, as monuments. In the figurative art of the FRG and the GDR in the 70s and 80s is the reflection and reception of art from the late Middle Ages and the Renaissance by no means rare. Prechtl Mannerist form is not unique. Particularly in the realism of the art movement it is found, often as
alienation (V) effect.
Herein is revealed Prechtl as "realist." He alienates him from the recorded present or the past so that they are of other familiar as the views are and reveals a further, either not shown or not perceived reality.
Prechtl MM: The utopian principle
His "awe" before the great traditions and works of art is no respect in the sense that it paralyzed him in reverence, even fetishistic worship of a culture, as is often the case with intercourse was the formation of citizen with the relics of the so-called high culture of Western Europe. Prechtl works against it. He sees in art history and history provide a useful quarry to procreate. He plays with the old material, it fits their interests and needs, questioned it at the same time as dialectician new attention to the present. Past and present are combined into a new, distorted picture of reality. Source: Kai Artinger: Luke and the Bull - image viewer to MM Prechtl Self-image April 80
CD Info & Scans (tracklist, cover, booklet, samples, Bonus Pictures), 61 MB
Read the file "Download links.txt" for links to the Ape + Cue + Log Files
CD 2, Track 6, K548 Piano Trio in C major, III. Allegro
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