Lately, I embarked on a river cruise with an exclusive rely on Mozart. One of the most energizing, engaging, and tranquil journeys I’ve always taken was what it was. Credit goes to the tour company, which was meticulous in curating the daily lectures, tours, and especially the concerts ( featuring Mozart’s works held in historic locations along the Danube ). Therefore, this Festival enlightened me about Mozart’s varied genius, modified my ideas, and left an indelible impact in my recollection.
Mozart’s Clarinet Quintet achievement
Ever since I started piano lessons at a younger years, I have been introduced to Mozart’s compositions in secondary types – allegros, seconds, rondos, dances, marches, to name a few. These small keyboard pieces were generally characterized by child-like joy, with predictable and typically structured harmonies, rhythms and melodies. As my pianistic knowledge progressed, I was advanced to his music symphonies. My music professor then was an accomplished musician, musicologist, as well as trainer, so my coaching was complete and all embracing. Her method was to have students read through each of the major artists ‘ sonatas thoroughly, analyze each, tackle one a week, and then choose their favorite ones to analyze seriously at the end of the process. We unwittingly started with Mozart’s Sonata No. 16 in C, K545 ( a staple in the vocabulary of most music individuals ). While the concerto reflected unique qualities of Mozart’s songs – “beauty and simplicity”, it likewise exuded enormous charm. I am specifically enamored with the following variation to this day:
Piano Sonata No. 16 in C, K 545
However, my connection to Mozart’s songs during those young decades was limited to his music works. Besides the music symphonies, the list included sonatas, fantasies, variations, and music ensemble works. Up to that point, I had assumed that Mozart’s music was generally classic – composed of pleasurable melodies with regular bass accompaniments, display of crystal clear runs, open texture, elegance and gracefulness – deeming his music simple to listen to. My perspectives were rapidly and greatly broadened until I advanced my musical schooling to higher levels. That is when I also made reference to the incredible range of this accomplished artist.
Melk Abbey
After exposure to his symphonies, chamber music, instrumental sonatas and concertos, choral works ( primarily religious ), vocal music, operas, organ works and serenades etc., culminating in his Requiem in D minor, K. 626, I was subsequently convinced that my initial judgment was erroneous, and that Mozart’s music did not just embrace “beauty and simplicity”, but also embodied visceral notions of intensity, agony and human complexity. I started to think of him as one of the most enthusiastic composers who ever lived, with a wealth of passionate feelings bursting at the seams even when he was just a young child, oozing out expressions across a range of music genres while always maintaining his unplanned, eloquent, and sophisticated style.
At this event, I learned more about Mozart. I could demonstrate why he had been hailed as the most important composer in music history by examining the numerous ways that the performers at this Mozart celebration adroitly and diversely interpreted his considerable repertoire. Rarely does one have the talent of contrasting real happiness with profound sorrow, connection with magnificence, and yet incorporating humor into tragedy. Mozart’s songs is most likely the universal language that people of all races and backgrounds can use to show their shared humanity.
How did I like the Mozart Festival along the Danube?
1 ) Flute QUINTETS
Michael Collins, flutist
Minetti Ensemble
Stadttheater Grein
In a respectable old theater with only 126 seats spread across two levels, this concert was held in a small but intimate setting in a historic municipality along the Danube. The tall wooden benches that Mozart and his girlfriend performed in are wooden benches.
On the programme were 2 clarinet quintets, the first by Carl Maria Von Weber ( 1786-1826 ) and the second by Mozart. Frequently, the saxophonist showcases the hot and sensual tones of the device, while the strings match with genteel lyricism. However, in this efficiency, the Viennese ensemble adopted a more brilliant method, which created an interesting dialogue with the flute.
W. A. Mozart ( 1756 -1791 )
Clarinet Quintet in A, K. 581
I. Allegro
II. Larghetto
III. Menuetto
IV. Allegretto con variazioni
2 ) MOZART SYMPHONIES
Vienna Chamber Orchestra
Wolfgang Redik, conductor and violin
Melk Abbey, Kolomanisaal
4 Mozart orchestral works were presented in Mozart’s magnificent Baroque structure, the Benedictine Abbey of Melk, next to the Danube. The Rondo for Violin and Orchestra in C, K. 373 and Adagio for Violin and Orchestra in E, K. 261 preceded 2 of his most popular symphonies. The “melancholy and turbulent” Symphony No. 3 exemplifies the magnificence of Mozart’s orchestral renditions. 40, in tandem with the more “festive and military” Symphony No. 41,” Jupiter”. The brass instruments and the timpani engaged in a thrilling battle that reached its crescendo in the final movement. In this venue, where the acoustics were amplified, the trumpet players ‘ earnestness and the timpanist’s zealousness left the audience rather overwhelmed.
Symphony No. 40 in G minor, K. 550
I. Molto allegro
II. Andante
III. Menuetto. Allegretto
IV. Finale: Allegro assai
Symphony No. 41 in C, K. 551,’ Jupiter ‘
IV. Molto allegro
3 ) ORGAN RECITAL
Johannes Zeinler, organ
Klosterneuberg Abbey Church
Very charming Mozart piece performed in the spectacular church, along with selections by Georg Muffet ( 1653-1704 ), Jacob Froberger ( 1616-1667 ), and J. S. Bach ( 1685-1750 ).
W. A. Mozart ( 1756 -1791 )
Andante in F, K. 616
4 ) MOZART’S REAL MUSICAL FATHER
Duo Pleyel, piano duo
Klosterneuburg Abbey, Augustinus Hall
Pleyel Piano
In their early musical adventures, Mozart and his sister Nannerl had been captivated by the combination of their keyboards. Johann Christian Bach ( 1735-1782 ), Mozart’s youngest son, was referenced in the title “real musical father,” who had been a friend and admired since he was 8 years old. Apparently, Mozart was influenced by his lighthearted and graceful disposition. J. C. Bach’s Sonata for Piano Duet in A, op. 18, No. 5 was included in this entertaining concert, together with 2 more Mozart Sonatas, Variation, and Andante for piano duet.
Sonata for Piano Duet in D, K. 381
I. Allegro
II. Andante
III. Allegromolto
5 ) MOZART PIANO SONATAS
Peter Donohoe, piano
Bratislava, Primatial Palace, Mirror Hall
Mozart’s Piano Sonatas are probably in the basic repertoire of all pianists as they encompass most of Mozart’s essential characteristics. His sonatas and concertos are also required pieces in today’s majority of piano competitions in order to critically evaluate the candidates ‘ musical sensibility. No. 3 on the three well-known piano sonatas in this concert. 11 in A, K. 331 ( alla turca ), No. 18 in D, K. 576 ( his last keyboard sonata ), and No. 6, K. 284 ( written for fortepiano ). The concert concluded with a flamboyant transcription based on a duet from Mozart’s opera, Don Giovanni – Réminiscences de Don Juan de Mozart, S. 418 by Franz Liszt ( 1811–1886 ). What I consider to be “ultra difficult and vulgar” technical passages, which are typical of Liszt but uncomplimentary to Mozart, are a dizzying display of showmanship.
Although the soloist, Peter Donohoe, is a prestigious and reputable pianist, I personally do not think he did these compositions justice. There was little room for meaningful phrasing and breathing in the performance, which was straightforward but hurried. I much prefer the following pianist Mitsuko Uchida’s interpretation:-
Piano Sonata No. 18 in D, K. 576
I. Allegro
II. Adagio
III. Allegretto
6 ) STRING QUARTETS: LODI, RIDER, DISSONANCE
Quatuor Van Kuijk
Schloss Hof, Festsaal
Mozart’s String Quartets performance
Due to the outstanding quality of the string quartet’s performance, this concert was undoubtedly the highlight of the entire Mozart Festival. Quote from’ The Guardian ‘ explicitly described this quartet’s distinction and charisma: -“Style, energy and a sense of risk. These four young Frenchmen made the audience laugh.
Furthermore, the elegant palace setting within a grand hunting lodge, in a most scenic location with lavishly terraced gardens, greatly enhanced the experience.
The concert comprised 3 fascinating quartets:- Mozart’s String Quartet No. 1 in G, K. 80, ( Lodi )– it was completed in Lodi, Hayd n’s String Quartet in G minor, Op. 74, No. 3, Hob. III: 74, ( Rider ), – galloping rhythms of the finale, String Quartet No. 19 in C, K. 465, ( Dissonance ) – presence of intense chromaticism and whimsical dissonance throughout the movements.
W. A. Mozart ( 1756 -1791 )
String Quartet No. 19 in C, K. 465,” Dissonance”
I. Adagio. Allegro
II. Andantecantabile
III. Menuetto. Allegro
IV. Allegro molto
7 ) THE A– Z OF MOZART OPERA
The Mozartists
Ian Page, director, piano
Vienna, Hofburg, Zeremoniensaal
Hofburg, Vienna
The A-Z idea is born out of the coincidence that Mozart’s first opera begins with an” A” ( Apollo et Hyacinthus ), and his last with a” Z” ( Die Zauberflöte ). His operas are said to be the most well-known of his writing, primarily because he has a profound and sympathetic understanding of human nature, which is demonstrated in his operas. The 18 selections in the Festival’s programme are chosen from his many operas, all of which involve tragic subjects like death, sorrow, misery, darkness, bitter pain of parting, trembling, faltering, anxiety, deception and depressing elements.
Mozart’s Opera performance
The hall belongs to one of the largest palace complexes in Europe, too. The actual performance was excellent, and the staging was very professional. Here in his operas, one can catch a glimpse of Mozart’s dynamic, dramatic and dashing self.
” Natus cadit, atque Deus” from Apollo et Hyacinthus, K. 38
” Hm! hm! hm! Hm”! from Die Zauberflöte, K. 620
8 ) SACRED MOZART
Vienna Chamber Choir
Orchestra 1756
Michael Grohotolsky, conductor
Pilgrimage Church of Maria Taferi
View from Maria Taferi’s Pilgrimage Church
On the other side of the coin, the next concert was all about holiness, enchantment, rapture, and sacredness. The Pilgrimage Church has breathtaking views all the way to the Alps, and is majestically situated above the Danube. The choir’s singing was exceedingly inspirational, spiritual and sublime. The orchestra and organ were magnificent and awe-inspiring. If I were to be converted to Christianity, this concert would have been the catalyst.
Pilgrimage Church Maria Taferi
This” Sacred Mozart” programme consisted of – Te Deum, K. 141 ( 66b ) – a medieval hymn, Venite populi, K. 260 ( 248a ) – offertory for double chorus, Church Sonata in B-flat, K. 212, and the following Vespers cycle. No. 1 in the movement. The most stunning soprano solo and an angelic voice in the fifth” Laudate Dominum omnes gentes” brought the audience as close to heaven as possible.
Vesperae solennes de confessore, K. 339
9 ) FINALE: SERENADES
Akademie für Alte Musik Berlin
St Florian Monastery, Garden Hall
St. Florian Monastery
One of Central Europe’s finest Early Baroque structures is the St. Florian Monastery. Its marble hall and elaborate ceiling frescoes are the most impressive. After leaving the abbey, Anton Bruckner, a choirboy and organist, was buried beneath the organ.
The programme began with wind music scored for pairs of oboes, clarinets, horns and bassoons –” Armonia per un Tempo della Notte in E-flat” by Antonio Salieri ( 1750-1825 ), and continued with the same instruments for Serenade No. 11 in E-flat, K. 375 by Mozart.
The Festival’s final, regal, stately, and grand culmination came last but not least with the following masterpiece: 12 wind instruments and double bass.
W. A. Mozart ( 1756–1791 )
Serenade No. 10 in B-flat, K. 361/370a,” Gran Partita”
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