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Frank Bridge 1010 1906 1912 2020
Frank Bridge - String Sextet in E-Flat Major, H. 107 +••.••(...)) Performed by the Academy of St. Martin in the Fields Chamber Ensemble Movement One: Allegro moderato - 0:00 Movement Two: Andante con moto - 10:10 Movement Three: Allegro ben moderato - 20:20 Sources of Audio (with performance information) - (http•••) (http•••) (http•••)
Johannes Brahms Gale 1990 1991
Provided to YouTube by Universal Music Group Brahms: Serenade No.1 in D Major, Op.11 - 1. Allegro molto · Academy of St. Martin in the Fields Chamber Ensemble Brahms: Serenade No. 1 / Wagner: Siegfried Idyll ℗ 1990 Universal International Music B.V. Released on: 1991-04-01 Producer: Hein Dekker Studio Personnel, Recording Engineer: Fiona Gale Composer: Johannes Brahms Auto-generated by YouTube.
Wolfgang Amadeus Mozart Alfred Einstein Hans Keller Loomis 1756 1772 1791 1986
Wolfgang Amadeus Mozart +••.••(...)) Divertimento in B-flat major for string quartet, K. 137/125b (1772) 00:00 - Andante 07:52 - Allegro di molto 11:17 - Allegro assai Academy of St. Martin-in-the-Fields Chamber Ensemble (1986) "Three early Mozart pieces, K. 137, 137 and 138, are labeled divertimentos on the manuscripts and are so listed in Grove. However, few Mozart scholars accept that tag as an accurate description of the works, and most doubt that the title came from Mozart. For one thing, a divertimento should have two minuets, and these three have none. At first glance they seem to be straightforward string quartets--yet many experts contend that they don't sound at all like string quartets. So what are they? Mozart scholar Alfred Einstein fancies them as small symphonies for strings, to which the composer was prepared to add extra parts for winds; they are sometimes known as the 'Salzburg symphonies.' Musicologist Hans Keller has given them the curious designation of 'orchestral quartets.' Others insist that they are indeed string quartets even if they lack the serious temper of that rarefied form. Yet (to complete the confusion) they are universally referred to as divertimentos--the one thing everyone agrees they are not. Whatever they're called, they are fine examples of Mozart's early essays in chamber music...Mozart composed them in 1772, when he was 16, not long before leaving Salzburg on his third (and, as it turned out, his last) trip to Italy. He was going to Milan to produce the opera 'Lucio Silla' on a commission from Count Firmian, governor-general of that city. He probably expected, from previous experience, to need music to entertain the count's court while he was at work on the opera. So it seems likely that these three works were composed to meet that need. Mozart may have planned to present them with a small orchestra, as Einstein surmises, but here they are played by the four instruments of a string quartet. The Divertimento in B flat, K. 137...differs from [K. 136 & K. 138] by starting with a slow movement. This affecting 'Andante' is led by the first violin and is punctuated by dramatic responses from the accompanying strings. A spirited 'Allegro di molto' movement follows, leading to a delicate finale marked 'Allegro assai'. This section, while not actually a minuet, has a courtly air that suggests a roomful of dancers bowing and curtsying under brilliant chandeliers." - Harvey B. Loomis Painting: Still Life (Morning Glories, Toad, & Insects), Otto Marseus van Schrieck
Wolfgang Amadeus Mozart Iona Brown Stadler Basset Anh Ferrando Alfred Einstein 1756 1789 1790 1791 1980
Wolfgang Amadeus Mozart +••.••(...)) Clarinet Quintet in A major, K. 581 (1789) 00:00 - Allegro 10:00 - Larghetto 17:30 - Menuetto 25:10 - Allegretto con variazioni Performed by members of the Academy of St. Martin-in-the-Fields Chamber Ensemble (1980). Clarinet - Antony Pay Violin I - Iona Brown Violin II - Malcolm Latchem Viola - Stephen Shingles Violoncello - Denis Vigay "[The] Quintet for clarinet and string quartet of the last Vienna period, the so-called Stadler Quintet, K. 581, [dates] from the end of September 1789. Mozart himself called it (8 April 1790) 'Stadler's Quintet.' Here is a chamber-music work of the finest kind, even though the clarinet predominates as 'primus inter pares' and is treated as if Mozart were the first to discover its charm, its 'soft, sweet breath,' its clear depth, its agility. There is no dualism here between solo and accompaniment, only fraternal rivalry. The term 'fraternal' is used advisedly— clarinets and basset horns acquired for Mozart a Masonic character, if perhaps only for external reasons: it seems that at the less solemn meetings of his lodge, only wind instruments were used. The development section has a concertante air about it, but for all five participants. The cantabile character of the second theme is resumed in the Larghetto and nursed into full flower. The Minuet contains one Trio in minor for the string quartet alone, and another, a Ländler, in which the clarinet becomes the rustic instrument that it was and has remained in South Bavaria and in the other Alpine provinces. The Finale is an Allegretto with variations; brief and amusing with all its variety and richness, serious and lovable. Mozart had originally begun a finale (K. Anh. 88) that anticipates almost note for note Ferrando's aria in Così fan tutte (No. 24) to the text 'Ah, lo veggio, quell'anima bella al mio pianto resister non sà'—the acme of joyfulness. But this 89-measure beginning turned out to be too concertante and may have seemed over-cheerful to Mozart. At any rate he discarded it. A quintet-fragment in F major for clarinet, basset horn, and string trio (K. Anh. 90) was perhaps another and even more elaborated study for the Stadler Quintet; but it would necessarily have turned out still more concertante in style." - Alfred Einstein Painting: On a Sailing Ship, Caspar David Friedrich
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