Mozart / Serenade for 13 Winds in B-flat major, K. 361 "Gran Partita" (Mackerras)
1,395,524
Published 2012-04-22
Serenade No. 10 for 13 Winds in B-flat major, K 361/370a "Gran Partita" (1781-82)
00:00 - Largo. Allegro molto
09:14 - Menuetto - Trio I - Trio II
19:31 - Adagio
25:02 - Menuetto. Allegretto - Trio I - Trio II
30:24 - Romanze. Adagio - Allegretto - Adagio
37:45 - Thema mit Variationen
47:18 - Rondo. Allegro molto
List of Performers:
Oboe - Stephen Taylor (principal) & Melanie Field
Clarinet - William Blount (principal) & Daniel Olsen
Bassett Horn - Gary Koch (principal) & Mitchell Weiss
Horn - Stewart Rose (principal), Scott Temple, William Purvis, and Russell Rizner
Bassoon - Dennis Godburn (principal) & Marc Goldberg
String Bass - John Feeney
Performed by members of the Orchestra of St. Luke's under the direction of Sir Charles Mackerras. Recorded by Telarc in 1994.
"The Serenade in B-flat major for 13 wind-instruments, K. 361, is far from an arrangement. Mozart had begun it in Munich at the beginning of 1781, at the time of the performance of Idomeneo, and completed it in Vienna, at the time of his most strenuous efforts to escape from the bonds of Salzburg. In composing it he probably had in mind the excellent wind-players of Munich, as well as the intention of once more trying to insinuate himself into the favor of Carl Theodor by means of an extraordinary piece. We have no evidence that the 13 players ever actually came together in Vienna; there exists an arrangement of this work for the four customary pairs of winds (K. Anh. 182), which may very well have been Mozart's own idea. The contra-bassoon is not named in the autograph: Mozart calls for a double bass. But this in no way contradicts the 'open-air' character of the extraordinary work, which, in any case, rises above any question of purpose into ideal regions. Whether the title Gran Partita, which perhaps hints at performance in the open, was affixed by Mozart himself, is uncertain—the authenticity of the handwriting of this title in the autograph is doubtful.
"The fascination of the work emanates from its sheer sound. There is a continuous alternation between tutti and soli, in which the part of the soli is usually allotted to the two clarinets; a constant reveling in new combinations: a quartet of clarinets and basset horns, a sextet of oboes, basset horns, and bassoons over the supporting double bass; oboe, basset horn, and bassoon in unison, with accompaniment—a mixture of timbres and transparent clarity at the same time; an 'overlapping' of all the tone-colors, especially in the development section of the first movement. No instrument is treated in true concertante fashion, but each one can, and strives to, distinguish itself; and just as in a buffo finale by Mozart each person is true to his own character, so each instrument here is true to its own character—the oboe to its aptness for cantabile melodies, the bassoon likewise and also, in chattering triplets, to its comic properties. The two pairs of horns furnish the basic tone-color; but the fact that Mozart uses only the first pair in the first slow movement, a Notturno, is an indication of his supreme taste and skill: this is a scene from Romeo under starry skies, a scene in which longing, grief, and love are wrung like a distillation from the beating hearts of the lovers. The counterpart to this lyricism is found in a 'Romance' whose sentimentality is carried towards the point of absurdity by means of an oddly burlesque Allegretto, an 'alternativo.' A third slow movement, an Andantino with variations, has an episodic effect, each variation, however, offering new evidence of mastery. The same is true of the two Minuets, the second Trio of the one being in G minor, and the first Trio of the other in B-flat minor, and all the sections differing in character. A somewhat noisy Rondo forms the conclusion; one might call it a Rondo alla turca, for the theme of which Mozart seems to have recalled the Finale of his youthful four-hand clavier sonata. The Theme and Variations are taken from the Mannheim Flute Quartet K. Anh. 171—if this movement is authentic. But it probably is; very possibly, after the exertion and outpouring of invention of the first five movements, Mozart was willing to permit himself a little relaxation." - Alfred Einstein
Painting: Gesellschaft in den Gärten der Villa d'Este, Johann Wilhelm Baur
All Comments (21)
-
-
How anyone can down vote this celestial music is beyond me. This is the music angels play while on holiday in the divine regions.
-
I was listening to this while studying for over two years ... when i finally finished i bought a ticket to rome and went to see the villa d'este for myself. There, below the steps up to the stately house i listened to it again and felt the weight and burden of my student years lift up and fly away on notes of pure delight. Danke Wolferl!
-
19:30 Omg I wanna hug him for making such wonderful music, that lasts for centuries! ❤ he is my favourite composer!
-
As a Beethoven's lover and follower of his art for a lifetime, I have to recognize that this is the greatest work for woodwinds assembly of the history, and one of the greatest works ever conceived by a human mind. A truly gift to mankind by Herr Mozart.
-
-
Each era in classical music provides a unique perspective on the world and human emotions. Exploring and understanding the history of classical music offers insights into the culture and mindset of that period.
-
'it looked nothing on the page. Bassoons, basset horns. like a rusty squeeze box...' (Amadeus - 1985)
-
it begins like a rusty old squeezebox and then soaring high above it an oboe which is taken over by a clarinet and turns it into a phrase of sweetest delight. Why don't they make movies like this anymore?
-
Didn’t expect to feel this way but, the clicking of the keys on the instruments actually makes it even better. I feel like I’m there
-
The Menuetto - Trio I - Trio II at 09:14 reminds me of my dad. Although he wasn't there for much of my life growing up, and even now, he introduced me to classical music and for that I am eternally grateful. That part always brings back memories of the few times I spent with him. Together with the second movement of the Flute and Harp Concerto, I'm always almost moved to tears when i listen to them. Mozart is the best!
-
Ive played this on contrabassoon, twice. This is by far the hardest movement. It was clearly written for a string bass. There is NOWHERE to take a breath. But, goosebumps every time Ive played it and hear it.
-
I have Sir Neville Marriner's conducting of the Gran Partita which is really wonderful. This performance with Sir Charles Mackerras is an equally wonderful and beautiful interpretation. Each instrument with its own special timbre of this recording is simply outstanding in this beautiful Mozart piece. Bravo to both Sirs.
-
Definitely a ‘desert island ‘ piece. I’ve performed this twice. One of the most breathtaking performances of my life!!
-
ESTA SERENATA, É UMA DAS MAIS PRODIGIOSAS OBRAS DO SUPER GÊNIO DE SALZBURGO. COMO SEMPRE SE NOTA EM SUAS MÚSICAS SEJA PARA PIANO, DE CÂMARA, SINFONIAS, PEÇAS SACRAS OU ÓPERAS E ETC. SÃO RIQUÍSSIMAS EM MELODIA, HARMONIA, CONTRAPONTO E RITMO. MOZART É ÚNICO ENTRE OS ÚNICOS ANTES E DEPOIS DÊLE.
-
La musique de Mozart et sa poésie se font comme l'amour se fait ; un échange de sang, une étreinte totale sans aucune précaution, sans aucune protection. Le grand saut à chaque fois !!🤗
-
This is the voice of god,as Sallieri express it Love this /Fredrik
-
The rest of the story is worth knowing. (...) Serenades and divertimenti scored for wind instruments only enjoyed great popularity in Vienna during the last quarter of the 18th century. In 1782 the Emperor Joseph II engaged an octet of wind players as a permanent ensemble to provide entertainment at court and ceremonial music on public occasions. The Viennese aristocracy followed his example, and within a few years there had arisen a considerable demand quickly, not only original compositions but also many arrangements were produced - above all, operatic melodies which were popular at the time were adapted for "Harmonie", the "imperial" ensemble consisting of two oboes, two clarinets, two horns and two bassoons.Mozart, who had moved to Vienna in 1781, responded to the specific Viennese requirement by writing the Serenade in C minor, K.388 (384a) in 1782. There was evidently an entirely differen intention behind the composition of his last work in this genre, the Serenade in B flat, K.361 (370a).The symphonic features of this serenade are significant, for they have nothing in common with the symphonic character of other works of the time in this genre. The slow introduction to the first movement already suggests the work's serious nature and reveals an uncommon strenght of creativity purpose belonging to the expressive sphere of "serious" music by Mozart. (DG S 2532089-JC)
-
Wonderful and soothing to listen too. As a person who suffers from tinnitus l cannot describe in words how this helps with calming 'the noise' down, and give me relief, if only for those few precious minutes. Most comments mentioned this from 'Amadeus'. This music was also used in the dinner scene in an even older movie 'Soylent Green'. Whomever posted this, two simple words. THANK YOU.
-
escuché esta serenata por primera vez en 1983, en un homenaje a Mozart que organizaron varias orquestas de Caracas, varios musicos de la actual orquesta sinfónica municipal de caracas la tocaron y me enamoré del adaggio, compré el disco y ya no recuerdo cuantas veces la he escuchado. El dialogo entre los instrumentos inisinúa el amor en todas sus manifestaciones: parental, de pareja, entre amigos, amor por la naturaleza y el universo. gracias Mozart
