Kazuo Yamada Mahler Symphony No. Divertimento in D Major K. Yutaka Kojima Mastering Engineer: Takashi Ikeda Master Recordings: Kanagawa Philharmonic Orchestra Archives Photographs: Lotus String Quartet, Stuttgart R. String Quartet in A major op. String Quartet in E minor Rossini: String Quartet in D minor H. String Quartet in F major Hess 34 Haydn: String Quartet in D major H. Haydn "The row in Venice" 5 December, Crisantemi e Tre Minuetti per quartetto ad archi Respighi: Antiche arie e danze per liuto.
Lotus String Quartet Schubert: String Quintet D Cello: String Quintet in C major D Webern: String Quartet Webern: Buck Schubert-String Quintet Excerpt from the 1st mov. Buck Schubert-String Quintet Excerpt from the 2nd mov. Buck Schubert-String Quintet Excerpt from the 3rd mov. Buck Schubert-String Quintet Excerpt from the 4th mov. Yutaka Kojima Recording Engineer: Takashi Mitsukawa Mastering Engineer: Lotus String Quartet Schumann: Prelude from Cello Suite No.
Andante from Suite for Cello Solo No.
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Scherzo from Partita Concertante for Violoncello solo J. Prelude from Cello Suite in D minor op. Suite for Two Cellos in G Major op. April 3,8,9, Location: But what are they talking about? I guess about the common but so important things of everyday life. But then comes the development section with dense counterpoint and the conversation becomes much more serious and emotional and it gets much more depth: After this intermezzo the conversation goes on the way it started, but yet more detailed and nuanced. How special is this following movement, the Adagio! The cello has the first word, but soon the violin and viola enter the conversation.
And in this conversation almost all aspects of life are being treated.
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- Menuetto from “Divertimento in D Major,” KV , Schott - Hal Leonard Online.
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- Divertimento No. 17 for 2 horns & strings in D major, K. 334 (K.320b)!
There is melancholy and sadness in it and yearning for love and tenderness and love itself. But you can also hear fear, threat and a lamentation especially in the development section and anger and resistance. I always have the feeling that Mozart is talking to us through this adagio, through these three instruments, about his own life, about his feelings, his emotions and his wisdom, so directly and personally as he never did before.
Listen finally to successively the viola, the cello and the violin in the last section. Through this movement you can almost feel Mozart himself or imagine how he was like. In the first Minuet the talk is less intense, but far from boring and still serious. In the trio the violin brings in something new, the cello and viola confirm and they all get a bit sad and quiet, reflecting on what has been said.
After that they take up the beginning of this part of their conversation again and finish it in a positive way. The interchange of talking and listening and of talking alone and talking together at the same time is fascinating. You even can hear them listen to each other. The Andante begins unisono with a simple melody. But the variations that follow are much more complex: Just as sudden as the tender intimacy has come it disappears. In the first trio the conversation interchanges optimism and a little, subtle darkness.
The second trio is just lovely: The piece rounds off with a firm last statement, toned down in the very end. The development section is not that joyful: The violin dominates in this last movement a great deal of the discussion, but the viola and the cello certainly are putting in their word too, adding critical observations to the stories of the violin and sometimes taking over.
In the development section they all are equal again. Finally it all ends with some firm chords, or better said: They say goodbye to each other as good friends, with a cordial handshake, and go their own way, not so much sadder as wiser. It was probably finished by Mozart about a year before his death and intended for a sort of mechanical instrument musical box , which clarifies the strange title Mozart gave it. The work was part of a commission from a certain count Deym von Stritetz, who ordered it for his wax museum in Vienna.
In this case Mozart could do nothing else but compose a work without having the timbre of any musical instrument in mind.
So you can say he had to create something so utterly abstract that we can call it absolute music, independent of any musical instrument. I have it performed by a church organ and in a version for string quintet with two violas.
Both versions are wonderful, though I prefer the one by the string quintet. The short first movement is a deeply serious and mysterious adagio.
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The adagio is followed by an allegro that I would describe as dynamic and forceful, but also as detached. The transition from the allegro to the finishing adagio is a typical Mozart Moment. Both adagios do resemble each other, but the final one is, unlike the first, not so much severe as subdued, and the mood it expresses is certainly melancholy, especially as to the very last measures. As for me this is one of the most extraordinary compositions I ever heard.
Haydn, but in my opinion mainly to show that he mastered this genre as well. I think we can say that he has passed this self-imposed examination with high flying colours. But it was a hard job, even for Mozart, as he has written in one of his letters. We have no reason to doubt that, though one cannot hear it in the music itself.
Tagarchief: Adagio und allegro für ein Orgelwerk in einer Uhr in f -minor
In my experience the overall atmosphere of KV is that of revolt and anger. Behind those feelings I hear pain and grief. I believe that below anger, bitterness and frustration there is pain and grief. And if you listen attentively to this dark string quartet, you ultimately hear sadness and sorrow. The second musical sentence is very shrill: This movement can be divided into four sections. The first one contains the main theme and the extension, the second part is a reprisal of the first part.
The third part, the development section, is to me the heart of this movement: In the last part of this movement you can hear the yearning and melancholy again, but it ends with a strong, upward and rebellious chord. The sometimes daring and even revolutionary harmony expresses drama. It has become something totally different or it must be something like a very grim tango. The trio is full of irony. There is no emotional break with the menuetto part at all. The last notes of the whole work make me think of a candle that is suddenly blown out by a heavy blow.
The homogeneity of this work is quite conspicuous. All movements contain the same strong emotional intensity. Every movement tells the same story, each one in its own way and with different nuances. But the dark story they all tell is essentially one and the same. KV in F-major. The other three are KV , and KV and are relatively early works; KV and are dated to respectively and Did they have smaller bodies and hands in those days?
Whilst thinking what work to write about my thoughts automatically went to this piano sonata, almost instinctively. I had no particular reason to think of it. But once it was in my mind I recalled this work had always been fascinating me. It was lying somewhere on a shelf in my head, waiting to be picked out. Maybe because Mozart many of them mainly wrote as study-material for his pupils. It takes a number of times listening before one gets some clarity. KV is the only piano sonata of Mozart that has an introductory adagio. It precedes the allegro di molto.
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This does remind me of symphony KV , but also the overwhelming impression it makes on me does so. The descant and the bass side: As if a whole orchestra is playing instead of only four hands on one piano. The sonata form of every single movement is quite obvious and sometimes to my regret. When the development sections have been played I often think: As to me Mozart could have let it loose a bit.
On the other hand: Listening to the promising introductory adagio one immediately feels something special will follow. The allegro di molto, just like the following andante, can be divided into four sections: The expectations raised by the introductory adagio are totally fulfilled. The music is majestic, glorious, vital and superior, though it has its soft and subtle moments too. The highlight of this movement is undoubtedly the development section. It comes unexpectedly and is very touching. Do discover it yourself.
The main theme of the andante is brilliant.
Divertimento No. 17 for 2 horns &… | Details | AllMusic
The vitality and superiority of the allegro di molto are being continued. The final movement, allegro, starts with a simple melody, but soon the music becomes complicated and also contrapuntal. The development section is followed by the final part, an ingenious variation of the first part. And again the vitality of the music is conspicuous.
Regarding the three last Mozart-symphonies, the accent is mostly put on the last two: KV in g-minor no. First some information about this wonderful symphony KV In that way almost all his splendid music came into being. The question I would like to answer is why this symphony is so special. Here are some predicates to describe it: As so often regarding especially his late compositions you have to listen under the surface to be able to fully comprehend a Mozart masterpiece.
I would say a certain feeling of threat and tension. Listen to the very beginning of the Adagio part of the first movement — to the timpani, the basses and the clarinets — and to its end. Listen also to the development section of the Allegro part of the first movement.
Minuet K 334
It begins very flowing and relaxed, but soon it seems as if a thunderstorm is coming … or just blowing over. The minor that is regularly sneaking into this andante gives it its special character as well. Then the clouds are breaking, but only temporarily: That goes on until in the end the sky seems to be cleared up. To me this is a musical metaphor: I remember having listened to this movement over and over again when I discovered KV , lying in bed because of illness.
Finally the last movement of this symphony has a great drive. It even rocks, but I cannot call it joyful or witty. It reminds me of the fever I had when I was ill and listened to it: