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Charles Draper Spencer Dyke Tomlinson Patterson Brahms Yvonne Printemps Eulenburg Padding Schubert Kreisler 1401 1754 1926
MOZART: Clarinet Quintet in A major - (K. 581) Charles Draper (clarinet) Spencer Dyke Quartet: Spencer Dyke and Edwin Quaife (violins), Ernest Tomlinson (viola), B. Patterson Parker (‘cello) Released on National Gramophonic Society Records XX, YY, ZZ, AAA. Size: 12” Sides: 7; Speed: 80 rpm Manufactured by: Vocalion Matrices: NGS. 20, 21X / 22X, 23 / 24X, 25X / 26X, 28 Recording date: c. May to August 1926 Issue date: September 1926 Time Side - Title Record 0.05 No. 1 - Allegro XX 2:51 No. 2 - Allegro (concluded) XX 6:50 No. 3 - Larghetto YY 10:09 No. 4 - Larghetto (concluded) and Menuetto YY 14:01 No. 5 - Menuetto (concluded) ZZ 17:54 No. 6 - Allegretto con Variazioni ZZ 21:58 No. 7 - Allegretto con Variazioni (concluded) AAA The Gramophone, September 1926. National Gramophonic Society Notes Mozart. Clarinet Quintet in A major (K-V. No. 581) IT is difficult to imagine a more complete contrast than that afforded by a comparison of Mozart's A major with Brahms' B minor clarinet quintets. The happy, irresponsible feeling of the former is the very antithesis of the deeply thoughtful and profound tone of the latter work. As well compare Yvonne Printemps and Eleonora Duse! Such comparisons, however interesting, are not my present purpose; so, to Mozart's work without further ado. First Movement.-Allegro. Score (Eulenburg, 3s.): first side, page 3 to bottom of page 8. Second side, page 9 to page 18, end. The first subject of the quintet is pleasure to eye and ear in its lay-out, and its gradual descent through the scale. The clarinet entering, as it did in the Brahms, with an arpeggio, gives a little flourish of happy sound before the repetition of the first subject. The second subject is a most graceful tune for the first violin, chromatically treated immediately afterwards by the clarinet which imparts to it a tinge melancholy, soon, however, dispersed. Just before the double bar a reminiscence of the first subject appears in a coda-like manner. This section is now repeated. It must be confessed that the working out, which begins on side 2, is rather mechanical. After the semi-fugal passages near the start, the up-and-down arpeggi on clarinet and strings sound flat and barely escape the suspicion of padding. But interest returns with the recapitulation, in the course of which may be heard a delightful variant, for the clarinet, of the second subject. Notice also the beautiful rhythmic variety in the parts at the bottom of page 17. Second Movement.-Larghetto. Score: third side, page 19 to page 23, line 3, bar 1; fourth side, page 23, line 3, bar 2, to page 26, end. Third Movement.-Menuetto. Fourth side, page 27 to page 28,line 2. Fifth side, page 28, line 3 to end. Against a background of muted strings, as in Brahms again, the clarinet sings such tranquil phrases as Mozart, and Schubert, alone hold the secret of. A long duologue between clarinet and first violin, based on the second subject, forms the section of contrast. Jets of notes are tossed from one instrument to another, until the clarinet leads us back into the elysian fields of the first tune. This proceeds on its way just as before with the exception of some triplet passages near the close and a coda. There are two trios to the minuet, the first of which fulfils the true function of the trio-one of contrast-by giving us a rest from the voice of the clarinet. The latter takes his revenge by predominating in the second trio. The minuet is heard three times, an ordeal which its charm easily survives. Fourth Movement.-Allegretto con Variazioni. Sixth side. Score: page 34 to page 42, line 1, end. Seventh side, page 42, line 2, to end. The last movement, as in the case of the Brahms' work, is cast in the form of an air with variations. The perky little air is first elaborated by the clarinet (Variation 1), and then by the first violin with a triplet accompaniment (Variation 2). The third variation, in the minor key, is ingeniously contrived. After the sad wail of the violins the viola has a persistent sobbing figure to play, which is again heard at the end of the variation. This is not the grief of an adult, but of a child, whose toy has been broken! In case we have gone astray a bit, Mozart takes us by the hand again in the fourth variation; a clear reference to the theme with much chattering from the clarinet. An adagio and allegro (side 7) really forming variations 6 and 7 (but not so marked in the score) conclude the movement. (The following repeats are not observed: second half of air; second half of variations 1, 2, and 4.) The fine art of Charles Draper, Kreisler of clarinettists, together with the splendid support of the Spencer Dyke Quartet, make this recording a veritable treasure. The adagio from the DUET IN G FOR VIOLIN AND VIOLA by Mozart occupies the last (eighth) side. The tonal contrasts of the instruments are well exploited. The music is too clear to call for any analytical comment. N. P.
Giuseppe Torelli Arcangelo Corelli Francesco Manfredini Pietro Antonio Locatelli Kircher Buhl 1653 1658 1684 1695 1709 1713 1762 1764
00:00 Concerto a 4 in G Minor, Op. 8 No. 6 "in forma di Pastorale per il Santissimo Natale" (Giuseppe Torelli, 1658-1709): Grave, Vivace - Largo - Vivace (Bologna, 1709; edition: Leipzig 1913 (C.F. Kahnt). Critically revised material: Arnold Schering 07:58 Concerto grosso in G minor, Op. 6 No. 8 "fatto per la notte di Natale" (Arcangelo Corelli, 1653-1713): Vivace, Grave, Allegro - Adagio, Allegro, Adagio - Vivace - Allegro, Pastorale (Largo) (Amsterdam 1714; edition: New York/London/Frankfurt 1937 (C. F. Peters). Critically revised material: Waldemar Woehl 22:38 Concerto grosso in C major, Op. 3 No. 12 "fatto per la notte di Natale" (Francesco Manfredini, 1684-1762): Pastorale (Largo) - Largo - Allegro (Bologna, 1718; edition: London 1957 (Ernst Eulenburg). Critically revised material: Felix Schroeder 33:30 Concerto grosso in F minor, Op. 1 No. 8 (Pietro Antonio Locatelli, 1695-1764) Largo, Grave, Vivace - Grave - Largo andante - Andante - Pastorale (Andante) (Amsterdam, 1721; edition: Leipzig 1919 (C. F. Kahnt). Critically revised material: Arnold Schering Günter Kehr & Doris Wolff-Malm, violins / Herbert Blendinger & Volker Kircher, violas Reinhold Buhl, violoncello / Iwona Salling, harpsichord / Mainz Chamber Orchestra
Wolfgang Amadeus Mozart Schmitt John Eliot Gardiner Monteverdi Sylvia McNair Diana Montague Anthony Rolfe Johnson Rolfe Cornelius Hauptmann Hauptmann Haydn Bach Handel Eulenburg Eder Maunder Novello Robert Levin Levin Belleville English Baroque Soloists Monteverdi Choir 1756 1782 1783 1791 1984
WOLFGANG AMADEUS MOZART +••.••(...)) *revised and reconstructed by Alois Schmitt & John Eliot Gardiner "Great" mass No. 17 in C minor K. 427 7. Quoniam 8. Jesu Christe 9. Cum Sancto Spiritu Performed by the English Baroque Soloists & the Monteverdi Choir Featuring Sylvia McNair, soprano I Diana Montague. soprano II Anthony Rolfe Johnson, tenor Cornelius Hauptmann, bass Conducted by John Eliot Gardiner *The Große Messe (German, lit. Great Mass) No. 17 in C minor K. 427 by Wolfgang Amadeus Mozart is the best-known and most widely performed of Mozart's mass settings, and is considered one of the composer's major works. It is often referred to as the "C Minor Mass". The work was composed in 1782-3. It embodies all of the pomp and solemnity associated with the Salzburg traditions of the time, but it also anticipates the symphonic masses of Haydn in its solo-choral sharing. The mass shows the influence of Bach and Handel, whose music Mozart was studying at this time. The Mass was written as a result of a vow Mozart made with himself in relation to his wife Constanze and his father Leopold and their strained relationship. The Mass was first performed in the Church of St. Peter's Abbey in Salzburg on 26 October 1783. The premiere took place in its natural context of a Roman Catholic mass, and the performers were members of the "Hofmusik", that is the musicians employed at the court of Salzburg's ruler, Prince-Archbishop Hieronymus Colloredo. The soprano solos at the première were sung by Mozart's wife Constance. There was a rehearsal in the nearby Kapellhaus on 23 October. The work is incomplete, missing all of the Credo following the aria "Et incarnatus est" (the orchestration of the Credo is also incomplete) and all of the Agnus Dei. The Sanctus is partially lost and requires editorial reconstruction. There is a good deal of speculation concerning why the work was left unfinished. Given the absolute necessity of a complete text for liturgical use, it is likely that Mozart spliced in movements from his earlier Masses for the premiere. For purposes of modern performances, the editions and completions available are those by H. C. Robbins Landon (Eulenburg), Helmut Eder (Bärenreiter), Richard Maunder (Oxford University Press), Philip Wilby (Novello) and Robert Levin (Carus Verlag). Mozart later reused the music from the Kyrie and Gloria, almost without changes except for the text, in the cantata "Davide Penitente" K. 469. The mass is included in the soundtrack for the Academy Award nominated animated feature, The Triplets of Belleville for a scene when the characters are at sea. It uses the opening Kyrie movement, and evokes the distressed state of the characters, while capturing the turmoil of a storm at sea. It is also used in A Man Escaped. It occurs throughout the Channel 4 drama A Very British Coup; the Credo was used as the theme music. Parts of the Kyrie are used in two separate scenes in the 1984 film Amadeus. Qui tollis is also used in a deleted scene that was included in the director's cut DVD.
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