In Reply to: Sure have... Mozart posted by SR on November 19, 2002 at 21:47:41:
Frank and SRI would very strongly counsel that if you really want to get a handle on Mozart you must get to know 'more than a few' of the works outside of the neat categories - symphonies, concertos, solo piano works, operas, string quartets, trios, sonatas etc.
Do try to get to know his chamber works for differing ensembles especially those including winds like the 'Lodron' pieces, the Gran Partita, and all the other pieces for a 'harmonie' wind group. do not be put off by the terms serenade or divertimento, it does not mean a lesser work.
By then you'd know how critical his wind writing was, then look at the scores for the symphonic works and the piano concertos. Notice the wind writing is strikingly like hsi wind writing for chamber pieces, except that the winds now act as an excahngers and commentator, in the scores. Often in the middle of what were intended to be 'antiphonal' exchanges between the 1st and 2nd strings, ie in space.
Then listen to conventional orchestra and conductor's recordings and notice how many of these almost bury his wind writing and the antiphonal exchanges, because of the; 2nds behind 1sts layout, and way too many strings. Not to mention vibrato, relatively homogenous wind sound, etc.
Some of the greats from the 'Golden age' so beloved here did try - some correctly placing first and second violins on opposite sides of the stage, and in cutting back on the numbers of strings.
But too many didn't even do these basic things and this is a pity because it reduces Mozart's acheivement, and tends to diminish the very great differences between these and the mass of later works in the orchestral canon.
Just my opinion.
timbo
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Follow Ups
- Re: Sure have... Mozart - Timbo in Oz 17:38:24 11/20/02 (1)
- Re: Sure have... Mozart - TOOL 18:12:25 11/20/02 (0)