180 Days With Mozart And Me

Of the End (Theatre and Ballet Music, Box 17)

Bill — Wed, 09 Jun 2010 01:40:29 +0000

This is the last of the CDs in the Philips Compact Complete Mozart Edition boxed set.

It is also the last post I’ll make to this web site.

It’s been fun.

I’m glad today’s CD was performed entirely by the Academy of St. Martin-in-the-Fields and conducted by Sir Neville Marriner. That’s a perfect way to end my listening, for there’s no orchestra or conductor I respect and enjoy more.

And I enjoyed these songs. All are bright, sprightly, well written and very well performed. This is the best CD in Box 17.

Here is what I listened to today, complete with the best guesses of scholars regarding where and when each composition was penned. This information was pieced together from The Compactothèque book + CD, which is an essential purchase if you want the fullest enjoyment from the Philips Complete Mozart Edition. It’s only about $8 and the sampler CD, alone, is remarkably enjoyable. But the booklet is gold, Jerry! Gold! Keep in mind, some of these places and dates are merely guesses. But I find it fascinating to see even guesses for some of these compositions. They help me put Mozart’s life and creative output in perspective.

For example, Johannes Chrysostomus Wolfgangus Theophilus Mozart was born on 27 January 1756. With that in mind, take a look at where and when these pieces were composed. I’ll add Mozart’s approximate age in the parenthetical data below each composition:

1. Les petits riens, K.app.10 (ballet) – 1. Overture (The Academy of St. Martin in the Fields)
2. Les petits riens, K.app.10 (ballet) – 2. Larghetto
3. Les petits riens, K.app.10 (ballet) – 3. Gavotte (Allegro)
4. Les petits riens, K.app.10 (ballet) – 4. Andantino – Allegro
5. Les petits riens, K.app.10 (ballet) – 5. (Vivo)
6. Les petits riens, K.app.10 (ballet) – 6. Gavotte gracieuse
7. Les petits riens, K.app.10 (ballet) – 7. Pantomime
8. Les petits riens, K.app.10 (ballet) – 8. Passepied
9. Les petits riens, K.app.10 (ballet) – 9. -
10. Les petits riens, K.app.10 (ballet) – 10. Gavotte
11. Les petits riens, K.app.10 (ballet) – 11. Agité
12. Les petits riens, K.app.10 (ballet) – 12. Andante
- Paris, May-June, 1778 (Mozart was 22)

13. Ballet Intermezzo, K.299c (Sketches compl. & orch. E. Smith) – 1. (Allegro)
14. Ballet Intermezzo, K.299c (Sketches compl. & orch. E. Smith) – 2. Contredance
15. Ballet Intermezzo, K.299c (Sketches compl. & orch. E. Smith) – 3. Le forgeron travaille (Moderato) – Pour la femme (Allegro)
16. Ballet Intermezzo, K.299c (Sketches compl. & orch. E. Smith) – 4. Un petit travaille… (Allegretto), Il danse avec une autre danseuse (Allegretto), Larghetto (Andante)
17. Ballet Intermezzo, K.299c (Sketches compl. & orch. E. Smith) – 5. Pantomime avec le baton (Allegro come une cadenza), Elle lui dit de se mettre en genoux (Allegretto)
18. Ballet Intermezzo, K.299c (Sketches compl. & orch. E. Smith) – 6. Gigue (Ils dansent ensemble)
19. Ballet Intermezzo, K.299c (Sketches compl. & orch. E. Smith) – 7. Elle lui prend par le nez (Largo), Contredanse, Allegro agitato
20. Ballet Intermezzo, K.299c (Sketches compl. & orch. E. Smith) – 8. Tambourin
- Paris, 1778 (Mozart was 22)

21. Music for a Pantomime: Pantalon und Colombine K.446 (compl. & orch. F. Beyer) – 1. Overture (Allegro)
22. Music for a Pantomime: Pantalon und Colombine K.446 (compl. & orch. F. Beyer) – 2. Allegro – Maestoso – Allegro
23. Music for a Pantomime: Pantalon und Colombine K.446 (compl. & orch. F. Beyer) – 3. Poco adagio – Andante molto
24. Music for a Pantomime: Pantalon und Colombine K.446 (compl. & orch. F. Beyer) – 4. Adagio – Allegro – Allegro assai
25. Music for a Pantomime: Pantalon und Colombine K.446 (compl. & orch. F. Beyer) – 5. Allegro maestoso – Larghetto
26. Music for a Pantomime: Pantalon und Colombine K.446 (compl. & orch. F. Beyer) – 6. Allegro – Maestoso
27. Music for a Pantomime: Pantalon und Colombine K.446 (compl. & orch. F. Beyer) – 7. Allegro – Marcia (Maestoso, quasi marcia funebre)
28. Music for a Pantomime: Pantalon und Colombine K.446 (compl. & orch. F. Beyer) – 8. Finale (Presto)
- Vienna, March 3, 1783 (Mozart was 27)

Of Ends Approaching and Musics Unliked (Theatre and Ballet Music, Box 17)

Bill — Mon, 07 Jun 2010 12:18:16 +0000

Today is the second to the last CD from my six-month journey through Mozart’s music.

In all honesty, I’m going to be glad to see it end. These posts occupied 2-4 hours of my life every morning. Sometimes less. Sometimes more. But always there, every day. Rain or shine.

Yet, another part of me will be sad about wrapping things up tomorrow. I’ve learned a lot listening to Mozart. I gained an education in Classical music comparable to learning a foreign language by immersion.

But I’ll save my final comments for tomorrow, June 8th. That day marks not only the end of my study of Mozart’s music, but also an entire year’s worth of new discoveries.

Stay tuned.

Today’s CD is called Theatre & Ballet Music.

The first eight tracks comprise something called “Thamos, Konig in Agypten,” K345, which Mozart worked on, off and on, over the course of six years starting in 1773 when he was 17. He finished the piece in 1779 when he was 26. The title, in English, is “Thamos, King of Egypt.” Here’s what Wikipedia has to say about the piece:

Thamos, King of Egypt (or King Thamos, in English; Thamos, König in Ägypten, in German) is a play by Tobias Philipp, baron von Gebler, for which, between 1773 and 1780, Wolfgang Amadeus Mozart wrote incidental music, K. 345/336a, of an operatic character.

Early performances
It is not known for certain whether the music that Mozart composed was performed with the play during his lifetime. The play’s première took place at the Kärntnertortheater in Vienna, probably on 4 April 1774, by which time two choruses had been written. Performances in Salzburg in 1776 and 1779-80 may have incorporated the orchestral interludes and the three choruses in their final form, respectively. The music was re-used in 1783 in a different play (set in India, not Egypt), Lanassa, by Karl Martin Plümicke.

Roles
The only named role in Mozart’s music is that of Sethos, the high priest (baritone). There are parts for four other soloists (soprano, alto, tenor and bass) and for a chorus of priests and priestesses.

Synopsis
Thamos has succeeded his father, Ramesses, as king of Egypt, but Ramesses had usurped the throne from the rightful king, Menes, who is now disguised as the high priest, Sethos. Thamos loves Sais, a priestess, but she is really Menes’s daughter Tharsis, for whom the high priestess Mirza is plotting marriage to Pheron, a treacherous general. When Menes reveals his true identity, Pheron is struck by lightning and Mirza kills herself. Menes cedes his crown to Thamos and Tharsis as all ends happily.

The second offering on today’s CD is called “Ballet music for ‘Idomeneo,’” K367, which was written by Mozart when he was 25 or 26.

The background for Mozart’s opera Idomeneo can be found on Wikipedia.

Of these two compositions, I liked the second one better. Why? Because it featured no vocals. It was instrumental music. And mighty fine music at that.

I know there are some out there reading this who love opera, and single out Mozart’s operas in particular. I’m not one of them. I dislike 90% of opera, from Mozart or anyone. I just don’t like operatic singing as a general rule. I prefer to hear the music.

However, that said, I have appreciated discovering some of the opera singers on these wonderful Philips Mozart Compact Edition CDs. Some of these singers were so good I immediately sought out other CDs from them and bought them. Nicolai Gedda, for example.

So even though I haven’t been an ardent fan of Mozart’s operas, I totally appreciate some of the vocalists and musicians who performed them on these CDs.

1. Thamos, König in Ägypten, K.345 – 1. Chorus: “Schon weichet dir, Sonne” (Eberhard Büchner)
2. Thamos, König in Ägypten, K.345 – 2. Interlude (Maestoso – Allegro) (Berliner Staatskapelle)
3. Thamos, König in Ägypten, K.345 – 3. Interlude (Andante) (Walter Weih)
4. Thamos, König in Ägypten, K.345 – 4. Interlude (Allegro) (Berliner Staatskapelle)
5. Thamos, König in Ägypten, K.345 – 5. Interlude (Allegro vivace assai) (Berliner Staatskapelle)
6. Thamos, König in Ägypten, K.345 – 6. Chorus: “Gottheit, über alle mächtig” (Eberhard Büchner)
7. Thamos, König in Ägypten, K.345 – 7a. Interlude (Berliner Staatskapelle)
8. Thamos, König in Ägypten, K.345 – 7b. Chorus: “Ihr Kinder des Staubes” (Theo Adam)
- Written over a period of six years, from 1773 through 1779

9. Ballet Music from “Idomeneo”, K.367 – 1a. Chaconne: Allegro (Netherlands Chamber Orchestra)
10. Ballet Music from “Idomeneo”, K.367 – 1b. Chaconne: Larghetto (Netherlands Chamber Orchestra)
11. Ballet Music from “Idomeneo”, K.367 – 1c. Chaconne: Allegro (Netherlands Chamber Orchestra)
12. Ballet Music from “Idomeneo”, K.367 – 2. Largo – Allegretto – Più allegro (Netherlands Chamber Orchestra)
13. Ballet Music from “Idomeneo”, K.367 – 3. Passepied (Netherlands Chamber Orchestra)
14. Ballet Music from “Idomeneo”, K.367 – 4. Gavotte
15. Ballet Music from “Idomeneo”, K.367 – 5. Passacaille
- Munich, January 1781 (Mozart was 25 or 26 depending on the date in January)

Overall, this wasn’t one of my favorites in this last box of Mozart CDs.

Of Wrong-Gig Drummers and Musical-Dice Games (Theatre and Ballet Music, Box 17)

Bill — Sun, 06 Jun 2010 13:45:58 +0000

Today has been a day of discovering quirky music.

A friend on my Facebook page posted a link to a YouTube clip titled “This drummer is at the wrong gig.”

I watched it and nearly fell off my chair laughing.

If you’re familiar with Animal from the Muppets, you’ll recognize this guy. He keeps perfect time. But I don’t see how given his antics. Take a look:

Obviously, this YouTube clip of the wild drummer has nothing to do with Mozart. However, there is a connection to a song on today’s CD – they’re both strange discoveries of mine. Read on and you’ll see what I mean.

Today’s Mozart CD contains terrific music that has more in common with sketches in DaVinci’s notebook than to symphonies in Mozart’s repertoire.

Two of the pieces, Track 7 (“Modulierendes Präludium,” K.deest ) and Track 9 (March to “Die Entführung aus dem Serail”, K.deest) are deest compositions, which means they are likely spurious, not part of Mozart’s canon, not written by Mozart. The former is a very short piece for harpsichord. The latter is a delightful little march.

Three of the compositions, Track 5 (Tantum ergo in D, K.197/Anh. C 3.05), Track 6 (Tantum ergo in B flat, K.142/Anh. C 3.04), and Track 8 (Non più, tutto ascoltai – Non temer, amato bene, K.490 – for “Idomeneo”, K.366/Version for mezzo-soprano) feature vocals. Track 5 is a choir. Track 6 is a choir with a soprano soloist. Track 8 is a mezzo-soprano soloist.

The most bizarre track I’ve yet heard any any of Mozart’s pieces is the last one: Track 10 (Musical Dice-game, K.516f, reconstructed by Erik Smith).

I’m not even sure what this is.

It begins with a man introducing the composition, which consists of two people “playing dice.”

One player says: “I’m throwing my C-major dice. And Immediately I come up with a seven.”

The other player says: “Now, I throw the dice…”

It’s apparently two guys using dice to select passages of music to play. In short, a kind of John Cage approach to making music – randomness.

Complete with the sound of a bottle of wine being opened and poured.

Totally bizarre. It’s 6:21 of musical strangeness, bordering on tongue-in-cheek lunacy.

This is a very short CD, only about 30 minutes. But it’s worth having, if only for the strange Musical Dice Game.

On a lark, I decided to Google the term “musical dice game.” Lo and behold, there’s an entry on Wikipedia, which I reprint in its entirety here:

Musikalisches Würfelspiel

A Musikalisches Würfelspiel (Musical dice game) was a system for using dice to randomly ‘generate’ music (long before computer systems). These games were quite popular throughout Western Europe in the 18th century. Several different games were devised, some that did not require dice, but merely ‘choosing a random number.’ Other famous examples are Johann Philipp Kirnberger’s The Ever Ready Composer of Polonaises and Minuets (1757 1st edition; revised 2nd 1783) and Joseph Haydn’s Philharmonic Joke (1790).

Mozart’s Alleged Musikalisches Würfelspiel

The most well-known was published in 1792, by Mozart’s publisher Nikolaus Simrock in Berlin. The game was attributed to Mozart, but this attribution has not been authenticated. The dice rolls randomly selected small sections of music, which would be patched together to create a musical piece. A ‘computerised’ version of the Musikalisches Würfelspiel making a MIDI file is available here.

Mozart’s manuscript K 516f, written in 1787, consisting of numerous two-bar fragments of music, appears to be some kind of game or system for constructing music out of two-bar fragments, but contains no instructions and there is no evidence that dice were involved.

This is one of those discoveries (like tenor Nicolai Gedda or philosopher Ludwig Wittgenstein) that makes my 6-month meandering through Mozart’s canon worth while. I’ve enjoyed these asides almost as much as Mozart’s music.

1. Rondo in E flat for Horn and Orchestra, K.371 (compl. with discoveries by Marie Rolf (1990), orch. E. Smith) (Timothy Brown)
2. Larghetto in B flat for Piano, Oboe, Clarinet, Basset Horn and Bassoon, K. 452a – Manuscr. found 1900, compl. by E. Smith and ed. by M. Uchida (Mitsuko Uchida)
3. Contredanse in B flat, K.App. 107/K.535b – Completed by E. Smith (The Academy of St. Martin in the Fields)
4. Contredanse in D, K.565a – Completed by E. Smith (The Academy of St. Martin in the Fields)
5. Tantum ergo in D, K.197/Anh. C 3.05 (Rundfunkchor Leipzig)
6. Tantum ergo in B flat, K.142/Anh. C 3.04 (Monika Frimmer)
7. Modulierendes Präludium, K.deest (Erik Smith)
8. Non più, tutto ascoltai – Non temer, amato bene, K.490 – for “Idomeneo”, K.366/Version for mezzo-soprano (Andreas Röhn)
9. March to “Die Entführung aus dem Serail”, K.deest (Members of the Academy of St. Martin in the Fields)
10. Musical Dice-game, K.516f (Erik Smith)

I highly recommend this CD. Musical Dice Game, alone, is worth the price.

Of Operas Sans Vocals (Theatre and Ballet Music, Box 17)

Bill — Sat, 05 Jun 2010 13:51:38 +0000

Now this is refreshing: Mozart’s operas without the vocals.

Since the music was usually my favorite part of Mozart’s operas, I enjoy listening to this CD.

However…

Don Giovanni (Tracks 1-13) is boring even without the vocals. The music just doesn’t move me.

Of much more interest to me is the music from Die Entführung aus dem Serail (Tracks 14-21). It’s more intricate, sprightlier, and less ponderous than Don Giovanni. I can listen to these tracks as stand-alone compositions, and enjoy them as much as I’ve enjoyed any of Mozart’s instrumental works.

The music on this CD is performed by members of the Netherlands Wind Ensemble, a very talented bunch of musicians.

1. Don Giovanni – Overture (Members of the Netherlands Wind Ensemble)
2. Don Giovanni / Act 1 – “Notte e giorno faticar”
3. Don Giovanni / Act 1 – “Madamina, il catalogo è questo”
4. Don Giovanni / Act 1 – “Giovinette, che fate all’amore”
5. Don Giovanni / Act 1 – “Là ci darem la mano”
6. Don Giovanni / Act 1 – Dalla sua pace (K.540a)
7. Don Giovanni / Act 1 – “Fin ch’han dal vino”
8. Don Giovanni / Act 1 – Finale: “Presto, presto… pria ch’ei venga”
9. Don Giovanni / Act 2 – “Deh! vieni alla finestra”
10. Don Giovanni / Act 2 – “Vedrai, carino”
11. Don Giovanni / Act 2 – Mi tradì quell’alma ingrata (K540c, Aria)
12. Don Giovanni / Act 2 – “Non mi dir, bell’idol mio”
13. Don Giovanni / Act 2 – Finale: “Già la mensa è preparata”
- Prague, October 28, 1787 (Mozart was 31)

14. Die Entführung aus dem Serail – Overture
15. Die Entführung aus dem Serail / Act 1 – “Hier soll ich dich denn sehen”
16. Die Entführung aus dem Serail / Act 2 – “Durch Zärtlichkeit und Schmeicheln”
17. Die Entführung aus dem Serail / Act 2 – “Ich gehe, doch rate ich dir”
18. Die Entführung aus dem Serail / Act 2 – “Welche Wonne, welche Lust”
19. Die Entführung aus dem Serail / Act 2 – “Vivat Bacchus! Bacchus lebe!”
20. Die Entführung aus dem Serail / Act 2 – “Wenn der Freude Tränen fließen”
21. Die Entführung aus dem Serail / Act 3 – “Ha, wie will ich triumphieren”
- Vienna, May 29, 1782 (Mozart was 26)

Again, a terrific collection. It was so refreshing to hear the music from Mozart’s operas, sans vocals. I still don’t like Don Giovanni no matter what’s missing or who’s playing it.

Of Beginnings and Endings (Theatre and Ballet Music, Box 17)

Bill — Fri, 04 Jun 2010 12:11:46 +0000

I just opened the last box of CDs, box 17 Theatre and Ballet Music * Rarities * Surprises.

I’ve been listening to Mozart non-stop for a few days shy of six months. This box of CDs represents the final five days in my journey.

And a fitting end it’ll be, too. We’re back to instrumental music!

But not just instrumental music. Snippets of music. Fragments, really.

According to the Köchel catalogue, the music on this CD is referred to as Mozart’s “London Sketchbook,” 43 short pieces of music Mozart jotted down while living in London circa 1764-5 when he was eight or nine.

Despite the unfinished nature of these compositions, even given Mozart’s young age, I find these snippets to be fun, compelling, and surprisingly realized.

Two more pluses: (1) They’re performed by The Academy of St.-Martin-in-the-Fields and conducted by Sir Neville Marriner, and (2) No vocals!

1. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Three Contredanses – in F, K.33B (added by E. Smith) (The Academy of St. Martin in the Fields)
2. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Three Contredanses – in F, K.15h
3. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Three Contredanses – in F, K.15x
4. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in C – 1. [Maestoso], K.15b
5. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in C – 2. [Allegro], K.15a
6. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in C – 3. [Menuetto], K.15f
7. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in G minor – 1. [Allegro non troppo], K.15p
8. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in G minor – 2. [Andante], K.15q
9. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in G minor – 3. [Finale], K.15r
10. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in D – 1. [Marcia (Andantino)], K.15o
11. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in D – 2. [Notturno (Andantino)], K.15bb
12. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in D – 3. [Contredanse (Allegro)], K.15l
13. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in D – 4. [Menuetto - Trio], K.15i & 15k
14. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in D – 5. [Finale (Allegro moderato)], K.15d
5. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Two Contredanses – in G, K.15e
16. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Two Contredanses – in C minor, K.15z
17. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in F – 1. [Allegro], K.15t
18. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in F – 2. [Siciliana (Andantino)], K.15u
19. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in F – 3. [Finale (Allegro)], K.15v
20. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in B flat – 1. [Marcia (Andantino)], K.15ii
21. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in B flat – 2. [Presto], K.15ll
22. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in B flat – 3. [Menuetto - Trio], K.15p & 15qq
23. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in B flat – 4. [Adagio], K.15mm
24. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in B flat – 5. [Cotillon (Allegro)], K.15gg
25. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in E flat – 1. [Allegro assai], K.15kk
26. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in E flat – 2. [Andante], K.15dd
27. The London Sketchbook, K. 15a-ss (arr. and/or orch. E. Smith) – Divertimento in E flat – 3. [Menuetto - Trio], K.15cc & 15ff
- London, 1764-5 (Mozart was eight or nine)

A terrific collection, just what I needed after all those tedious operas.

Of Staring Tykes and Tarnished Flutes (German Operas, Box 16)

Bill — Thu, 03 Jun 2010 13:23:27 +0000

As I sit here at Panera Bread, there’s a baby girl sitting in a high chair staring at me. She’s with her mom, of course. Babies don’t drive.

Mom is reading the latest book from Donald Miller (A Million Miles in a Thousand Years: What I Learned While Editing My Life).

Since her daughter can’t read, she has nothing to do but look around. And stare at me.

So she does.

Her mom just gave her a Motorola Razr phone to play with. Probably not a good idea. But it keeps the little tyke somewhat occupied with the beeping and flashing lights (and the sound of the Razr hitting the floor).

They just left. Now there’s someone else sitting in the chair, texting on her phone, while a laptop rests on her folded legs. Now that’s multi-tasking.

Part Three of Die Zauberflöte, K.620, isn’t as magical as the first two.

Part of the reason why is because I don’t enjoy the vocals as much. The male performers have voices that irritate rather than inspire me. Oh, they’re world-class singers. Don’t get me wrong. I can hear they’re absolutely superb.

But beauty being what it is, my eyes (in this case, my ears) don’t behold the magic of the finale to one of Mozart’s most beloved operas.

That doesn’t mean I wouldn’t see Die Zauberflöte (The Magic Flute) should it be staged in my area of the world. I probably would. But I’d probably be bored by the end of Act II and all of Act III.

1. Die Zauberflöte, K.620 / Act 2 – Dialog “Tamino, wollen wir nicht speisen?” (Hans Jörn Weber)
2. Die Zauberflöte, K.620 / Act 2 – “Ach, ich fühl’s” (Margaret Price)
3. Die Zauberflöte, K.620 / Act 2 – Dialog “Nicht wahr, Tamino” (Mikael Melbye)
4. Die Zauberflöte, K.620 / Act 2 – “O Isis und Osiris, welche Wonne!” (Rundfunkchor Leipzig)
5. Die Zauberflöte, K.620 / Act 2 – Dialog “Prinz, dein Betragen” (Hans Jörn Weber)
6. Die Zauberflöte, K.620 / Act 2 – “Soll ich dich, Teurer, nicht mehr sehn?” (Kurt Moll)
7. Die Zauberflöte, K.620 / Act 2 – Dialog “Tamino! Willst du mich denn” (Wolfgang Kühne)
8. Die Zauberflöte, K.620 / Act 2 – “Ein Mädchen oder Weibchen” (Mikael Melbye)
9. Die Zauberflöte, K.620 / Act 2 – Dialog “Da bin ich schon, mein Engel” (Justus Fritsch)
10. Die Zauberflöte, K.620 / Act 2 – “Bald prangt, den Morgen zu verkünden” (Margaret Price)
11. Die Zauberflöte, K.620 / Act 2 – “Der, welcher wandelt diese Straße voll Beschwerden” (Peter Schreier)
12. Die Zauberflöte, K.620 / Act 2 – “Wir wandelten durch Feuersgluten”
13. Die Zauberflöte, K.620 / Act 2 – “Papagena! Papagena!” (Dresdner Kreuzchor – members)
14. Die Zauberflöte, K.620 / Act 2 – “Nur stille, stille” – “Die Strahlen der Sonne” (Kurt Moll)
- Vienna, September 29, 1791 (Mozart was 35)

It’s hard to sustain my interest in an opera over three CDs. Even one as lauded as The Magic Flute.

So it should come as no surprise to anyone that I thought this installment of Flute had lost its luster.

Of Glen/Glenda and Magic/Flute (German Operas, Box 16)

Bill — Wed, 02 Jun 2010 13:34:21 +0000

Today, we watched the Ed Wood movie Glen or Glenda?.

I’m speechless. All I can say is that it lives up to its billing as one of the worst movies ever made. I realize director/writer Ed Wood was a transvestite in real life. But if he thought his movie would earn sympathy or empathy for his cause, he was sadly mistaken.

On to today’s music…

Part two of Die Zauberflote, K620, (also known – especially to those who don’t speak German – as The Magic Flute) contains one of my all-time favorite songs from an opera: “Der Hölle Rache kocht in meinem Herzen,” performed by the incomparable Luciana Serra. I had no idea the human voice could reach such notes.

The rest of the opera is terrific. But I’ve been waiting to hear that song in context for the past six months. It was worth the wait.

1. Die Zauberflöte, K.620 / Act 1 – “Zum Ziele führt dich diese Bahn” (Peter Schreier)
2. Die Zauberflöte, K.620 / Act 1 – “Die Weisheitslehre dieser Knaben”
3. Die Zauberflöte, K.620 / Act 1 – “Wo willst du kühner Fremdling hin?”
4. Die Zauberflöte, K.620 / Act 1 – “Wie stark ist nicht dein Zauberton”
5. Die Zauberflöte, K.620 / Act 1 – “Schnelle Füße, rascher Mut” (Margaret Price)
6. Die Zauberflöte, K.620 / Act 1 – “Es lebe Sarastro! Sarastro lebe!”
7. Die Zauberflöte, K.620 / Act 1 – “Herr, ich bin zwar Verbrecherin” (Kurt Moll)
8. Die Zauberflöte, K.620 / Act 1 – “Wenn Tugend und Gerechtigkeit” (Rundfunkchor Leipzig)
9. Die Zauberflöte, K.620 / Act 2 – Marsch der Priester (Staatskapelle Dresden)
10. Die Zauberflöte, K.620 / Act 2 – Dialog “Ihr, eingeweihte Diener” – Der dreimalige Akkord: Dialog “Sarastro dankt euch” (Wolfgang Dehler)
11. Die Zauberflöte, K.620 / Act 2 – “O Isis und Osiris” (Kurt Moll)
12. Die Zauberflöte, K.620 / Act 2 – Dialog “Papageno! Wo denkst du, daß wir uns befinden?” (Hans Jörn Weber)
13. Die Zauberflöte, K.620 / Act 2 – “Bewahret euch vor Weibertücken” – Dialog “He, Lichter her!”
14. Die Zauberflöte, K.620 / Act 2 – “Wie? Wie? Wie?” (Peter Schreier)
15. Die Zauberflöte, K.620 / Act 2 – Dialog “Heil dir, Jüngling” (Gerhard Paul)
16. Die Zauberflöte, K.620 / Act 2 – “Alles fühlt der Liebe Freuden” (Robert Tear)
17. Die Zauberflöte, K.620 / Act 2 – Dialog “Zurück!” (Regina Jeske)
18. Die Zauberflöte, K.620 / Act 2 – “Der Hölle Rache kocht in meinem Herzen” (Luciana Serra)
19. Die Zauberflöte, K.620 / Act 2 – Dialog “Morden soll ich?” (Wolfgang Dehler)
20. Die Zauberflöte, K.620 / Act 2 – “In diesen heil’gen Hallen” (Kurt Moll)
21. Die Zauberflöte, K.620 / Act 2 – Dialog “Hier seid ihr euch beide allein überlassen” (Hans Jörn Weber)
22. Die Zauberflöte, K.620 / Act 2 – “Seid uns zum zweiten Mal willkommen” (Dresdner Kreuzchor – members)
Vienna, September 29, 1791 (Mozart was 35)

I like this CD on the strength of Track 18 (“Der Hölle Rache kocht in meinem Herzen”) alone. It’s one of the coolest, most recognizable songs from any opera.

Of Night Queens and Magic Flutes (German Operas, Box 16)

Bill — Tue, 01 Jun 2010 12:22:59 +0000

This is one of Mozart’s biggies, one of the operas I’ve been waiting to hear.

It’s called Die Zauberflote, K620, also known (especially to those who don’t speak German) as The Magic Flute.

This flute definitely is magical. I like it a lot. Even the Overture is memorable.

I know enough about operas now to know this is a Singspiel, an opera that contains both sung and spoken parts.

Here’s what Wikipedia has to say about one of Mozart’s best-loved operas:

The Magic Flute (German: Die Zauberflöte, K. 620) is an opera in two acts composed in 1791 by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, [See? what did I tell you?] a popular form that included both singing and spoken dialogue.

Premiere and reception
The opera was premiered in Vienna on 30 September 1791, at the suburban Freihaus-Theater auf der Wieden. Mozart conducted the orchestra, Schikaneder himself played Papageno, while the role of the Queen of the Night was sung by Mozart’s sister-in-law Josepha Hofer.

On the reception of the opera, Mozart scholar Maynard Solomon writes [on page 487]:

Although there were no reviews of the first performances, it was immediately evident that Mozart and Schikaneder had achieved a great success, the opera drawing immense crowds and reaching hundreds of performances during the 1790s.

The success of The Magic Flute lifted the spirits of its composer, who had fallen ill while in Prague a few weeks before. Solomon continues:

Mozart’s delight is reflected in his last three letters, written to Constanze, who with her sister Sophie was spending the second week of October in Baden. “I have this moment returned from the opera, which was as full as ever,” he wrote on 7 October, listing the numbers that had to be encored. “But what always gives me the most pleasure is the silent approval! You can see how this opera is becoming more and more esteemed.” … He went to hear his opera almost every night, taking along [friends and] relatives.

The opera celebrated its 100th performance in November 1792. Mozart did not have the pleasure of witnessing this milestone, having died of his illness on 5 December 1791.

Since its premiere, The Magic Flute has always been one of the most beloved works in the operatic repertoire, and is presently the eighth most frequently performed opera in North America.

Background
Mozart evidently wrote keeping in mind the skills of the singers intended for the premiere, which included both virtuosi and ordinary comic actors, asked to sing for the occasion. Thus, the vocal lines for Papageno and Monostatos are often stated first in the strings so the singer can find his pitch, and are frequently doubled by instruments. In contrast, Mozart’s sister-in-law Josepha Hofer, who premiered the role of the Queen of the Night, evidently needed little such help: this role is famous for its difficulty. In ensembles, Mozart skillfully combined voices of different ability levels.

A particularly demanding aria is the Queen of the Night’s “Der Hölle Rache kocht in meinem Herzen” (“The vengeance of Hell boils in my heart”), which reaches a high F6, rare in opera. At the low end, the part of Sarastro includes a conspicuous F in a few locations.

I can vouch for that. One of my all-time favorite songs from an opera is that one, which is performed by Luciana Serra on the Philips Compact Edition of the Complete Mozart collection. Her performance is nothing short of jaw-dropping. I had no idea the human voice could reach such notes.

But I’m getting ahead of myself. That particular song appears on tomorrow’s CD.

The Original Cast:

The Cast Today:

Sarastro……………………………..Kurt Moll
Tamino………………………………Peter Schreier
Sprecher…………………………….Theo Adam
Speaker
Zweiter Sprecher………………….Armin Ude
Second Speaker
Konigin der Nacht………………..Luciana Serra
Queen of the Night
Pamina……………………………….Margaret Price
Her daughter
Erste Dame………………………….Marie McLaughlin
First Lady
Zweite Dame………………………..Ann Murray
Second Lady
Dritte Dame………………………….Hanna Schwarz
Third Lady
Erster Knabe…………………………Frank Hoher
First Boy
Zweiter Knabe……………………….Michael Diedrich
Second Boy
Dritter Knabe…………………………Friedemann Klos
Third Boy
Ein altes Weit (Papagena)………….Maria Venuti
The old woman
Papageno……………………………….Mikael Melbye
Monostatos……………………………Robert Tear
a Moor
Erster geharnischter Mann…………Reiner Goldberg
First Armored Man
Zweiter geharnischter Mann……….Heinz Reeh
Second Armored Man

Rundfunkchor Leipzig
Staatskapelle Dresden
Sir Colin Davis

1. Die Zauberflöte, K.620 – Overture Staatskapelle Dresden 7:09 Album Only
Play 2. Die Zauberflöte, K.620 / Act 1 – “Zu Hilfe! Zu Hilfe!” – Dialog “Wo bin ich?” Hans Jörn Weber 6:58 $0.99 Buy Track
Play 3. Die Zauberflöte, K.620 / Act 1 – “Der Vogelfänger bin ich ja” Mikael Melbye 2:58 $0.99 Buy Track
Play 4. Die Zauberflöte, K.620 / Act 1 – Dialog “He da!” Hans Jörn Weber 4:11 $0.99 Buy Track
Play 5. Die Zauberflöte, K.620 / Act 1 – “Dies Bildnis ist bezaubernd schön” Peter Schreier 3:54 $0.99 Buy Track
Play 6. Die Zauberflöte, K.620 / Act 1 – Dialog “Rüste dich mit Mut und Standhaftigkeit” Hans Jörn Weber 1:28 $0.99 Buy Track
Play 7. Die Zauberflöte, K.620 / Act 1 – “O zittre nicht” – Dialog “Betäuben mich meine Sinne?” Luciana Serra 5:26 $0.99 Buy Track
Play 8. Die Zauberflöte, K.620 / Act 1 – “Hm! hm! hm! hm!” Peter Schreier 6:37 $0.99 Buy Track
Play 9. Die Zauberflöte, K.620 / Act 1 – Dialog “Haha… Pst… Was soll denn das Lachen?” Michael Tellcke 1:23 $0.99 Buy Track
Play 10. Die Zauberflöte, K.620 / Act 1 – “Du feines Täubchen, nur herein” Margaret Price 1:57 $0.99 Buy Track
Play 11. Die Zauberflöte, K.620 / Act 1 – Dialog “Mutter! Mutter!… Bin ich nicht ein Narr” Elke Wieditz 3:34 $0.99 Buy Track
Play 12. Die Zauberflöte, K.620 / Act 1 – “Bei Männern, welche Liebe fühlen” Margaret Price
- Vienna, September 29, 1791 (Mozart was 35)

This is a terrific opera. I enjoyed it, even though it’s sung in German and I didn’t understand a word of it. I liked its feel and flow.

Of Sherlock Holmes and Il Seraglio (German Operas, Box 16)

Bill — Mon, 31 May 2010 00:33:17 +0000

Tonight, we’re watching another Billy Wilder film – The Private Life of Sherlock Holmes (1970).

I’ve never seen this particular Wilder film. But I’m hoping it’s as good as some of his other classics, for example: Some Like it Hot, Sunset Boulevard, Stalag 17, Double Indemnity, and The Apartment.

As for today’s Mozart opera, it’s another great CD.

I don’t have much to add to my praise for this opera (Die Entfuhrung Aus Dem Serail, K384) that I didn’t say in yesterday’s post.

It’s a Singspiel, which means there are spoken parts (like a play) and sung parts (like an opera).

The music is interesting, the spoken parts are compelling (even though I don’t understand German), and the “feel” of the opera is enjoyable.

If you want to know more about it, visit its entry on Wikipedia.

1. Die Entführung aus dem Serail, K.384 / Act 2 – “Ah, daß es schon vorbei wäre!” (Franz Rudnick)
2. Die Entführung aus dem Serail, K.384 / Act 2 – “Frisch zum Kampfe” (Robert Tear)
3. Die Entführung aus dem Serail, K.384 / Act 2 – “Ha! Geht’s hier so lustig zu?” (Franz Rudnick)
4. Die Entführung aus dem Serail, K.384 / Act 2 – “Vivat Bacchus! Bacchus lebe!” (Robert Tear)
5. Die Entführung aus dem Serail, K.384 / Act 2 – “Hör, Alter, trink nicht zu viel” (Renate Pichler)
6. Die Entführung aus dem Serail, K.384 / Act 2 – “Wenn der Freude Tränen fließen” (Stuart Burrows)
7. Die Entführung aus dem Serail, K.384 / Act 2 – “Ach Belmonte! Ach, mein Leben!” (Christiane Eda-Pierre)
8. Die Entführung aus dem Serail, K.384 / Act 2 – “Wenn unsrer Ehre wegen”
9. Die Entführung aus dem Serail, K.384 / Act 3 – “Ich baue ganz auf deine Stärke” (Stuart Burrows)
10. Die Entführung aus dem Serail, K.384 / Act 3 – “Alles liegt auf dem Ohr” (Friedhelm Ptok)
11. Die Entführung aus dem Serail, K.384 / Act 3 – “In Mohrenland gefangen war” (Stuart Burrows)
12. Die Entführung aus dem Serail, K.384 / Act 3 – “Endlich, sie macht auf, Herr” (Renate Pichler)
13. Die Entführung aus dem Serail, K.384 / Act 3 – “Ha, wie will ich triumphieren”
14. Die Entführung aus dem Serail, K.384 / Act 3 – “Was ist das für ein Lärm?” (Curd Jürgens)
15. Die Entführung aus dem Serail, K.384 / Act 3 – “Welch ein Geschick!” (Christiane Eda-Pierre)
16. Die Entführung aus dem Serail, K.384 / Act 3 – “Meinetwegen willst du sterben!” (Christiane Eda-Pierre)
17. Die Entführung aus dem Serail, K.384 / Act 3 – “Nun, Belmonte Lostados!” (Curd Jürgens)
18. Die Entführung aus dem Serail, K.384 / Act 3 – “Nie werd’ ich deine Huld verkennen” – “Bassa Selim lebe lange” (Christiane Eda-Pierre)
Vienna, May 29, 1782 (Mozart was 26)

I don’t often like operas, even ones written by Mozart. But this is one I enjoyed. Go figure.

Of Christiane Eda-Pierre. Period. (German Operas, Box 16)

Bill — Sun, 30 May 2010 13:29:01 +0000

The recording of this opera has a lot going for it, not least of which is the music is played by The Academy of St.-Martin-in-the-Fields. That, automatically, gives it a feel and sound that grabs me. I don’t think I’ve yet heard a recording by the Academy that I didn’t like.

Another plus for this recording: Top-notch tenors and bass singers. Plus, there’s a noticeable melody, a nice flow to the music.

But what sells this music to me is one vocalist, a soprano named Christiane Eda-Pierre. Her voice is Nicolai Gedda good, which is to say absolutely world class. One of the finest the world has to offer. When she sings, my ears perk up. As I was listening to this at Panera Bread this morning, I said, “Wow” out loud as I listened to Track 20 (Introduktion – “Martern aller Arten” – “Doch du bist entschlossen”). Christiane’s voice has a tremendous range and pure tonality. Wow is the only word I have describe what I’m hearing.

As for the opera itself, here’s some background on it from Wikipedia:

Die Entführung aus dem Serail (K. 384; The Abduction from the Seraglio; also known as Il Seraglio) is an opera Singspiel in three acts by Wolfgang Amadeus Mozart. The German libretto is by Christoph Friedrich Bretzner with adaptations by Gottlieb Stephanie. The plot concerns the attempt of the hero Belmonte, assisted by his servant Pedrillo, to rescue his beloved Konstanze from the seraglio of the Pasha Selim.

The Character of the Opera
Die Entführung aus dem Serail is in the genre of “Singspiel”, meaning that much of the action is carried forward by spoken dialogue, thus the music lacks recitatives and consists entirely of set numbers.

The work is lighthearted and frequently comic, with little deep character exploration or darker feelings found in Mozart’s later operas. Along with other contemporary works, such as Giovanni Paolo Marana’s Letters Writ by a Turkish Spy and Montesquieu’s Persian Letters, the opera was inspired by a contemporary interest in the perceived “exotic” culture of the Ottoman Empire, a nation which had only recently ceased to be a military threat to the Austrian Empire. Mozart’s opera includes a Westernized version of Turkish music, based very loosely on the Turkish Janissary band music that he had employed in earlier work. (See Turkish music (style)). Like most comedies of the time, it incorporates many elements of plot and characterization established by the popular Commedia dell’arte.

Reception
The opera was a huge success. The first two performances brought in the large sum of 1200 florins, three times what Mozart’s salary had been for his old job in Salzburg. The work was repeatedly performed in Vienna during Mozart’s lifetime, and throughout German-speaking Europe. In 1787, Goethe wrote (concerning his own efforts as a librettist):

“All our endeavour … to confine ourselves to what is simple and limited was lost when Mozart appeared. Die Entführung aus dem Serail conquered all, and our own carefully written piece has never been so much as mentioned in theater circles.”

The “too many notes” tale
The complexity of Mozart’s work, noted early on by Goethe, also plays a role in a well-known tale about the opera. In the version from Bartlett’s Book of Anecdotes, the story goes like this:

“The Emperor Joseph II commissioned the creation of The abduction from the Seraglio, but when he heard it, he complained to Mozart, ‘That is too fine for my ears — there are too many notes.’ Mozart replied, ‘There are just as many notes as there should be.’”

The anecdote originally appeared in an early biography of Mozart by Franz Xaver Niemetschek. Its authenticity is not accepted by all scholars.

Since I have Part II to listen to tomorrow, I’ll save the cast information for then.

I like this opera, which Mozart wrote when he was 26. It just feels nice. And it sounds terrific.

1. Die Entführung aus dem Serail, K.384 – Ouvertüre (The Academy of St. Martin in the Fields)
2. “Hier soll ich dich denn sehen” [Die Entführung aus dem Serail, K.384 / Act 1] (Stuart Burrows)
3. Die Entführung aus dem Serail, K.384 / Act 1 – “Aber wie soll ich in den Palast kommen?” (Friedhelm Ptok)
4. Die Entführung aus dem Serail, K.384 / Act 1 – “Wer ein Liebchen hat gefunden” – “Verwünscht seist du samt deinem Liede!” (Stuart Burrows)
5. Die Entführung aus dem Serail, K.384 / Act 1 – “Allah sei Dank!” (Franz Rudnick)
6. Die Entführung aus dem Serail, K.384 / Act 1 – “Solche hergelaufne Laffen” – “Was bist du nur für ein Mensch!” – “Erst geköpft, dann gehangen” (Franz Rudnick)
7. Die Entführung aus dem Serail, K.384 / Act 1 – “Geh nur, verwünschter Aufpasser” (Friedhelm Ptok)
8. Die Entführung aus dem Serail, K.384 / Act 1 – “Konstanze, dich wiederzusehen” – “O wie ängstlich, o wie feurig” (Stuart Burrows)
9. Die Entführung aus dem Serail, K.384 / Act 1 – “Singt dem großen Bassa Lieder” (The John Alldis Choir)
10. Die Entführung aus dem Serail, K.384 / Act 1 – “Immer noch traurig, geliebte Konstanze?” (Renate Pichler)
11. Die Entführung aus dem Serail, K.384 / Act 1 – “Ach ich liebte, war so glücklich” (Christiane Eda-Pierre)
12. Die Entführung aus dem Serail, K.384 / Act 1 – “Undankbare!” – “Ihr Schmerz, ihr Tränen” (Curd Jürgens)
13. Die Entführung aus dem Serail, K.384 / Act 1 – “Marsch! Trollt euch fort!” (Stuart Burrows)
14. Die Entführung aus dem Serail, K.384 / Act 2 – “Durch Zärtlichkeit und Schmeicheln” (Norma Burrowes)
15. Die Entführung aus dem Serail, K.384 / Act 2 – “Ei seht doch mal” (Pia Werfel)
16. Die Entführung aus dem Serail, K.384 / Act 2 – “Ich gehe, doch rate ich dir” (Norma Burrowes)
17. Die Entführung aus dem Serail, K.384 / Act 2 – “Welcher Kummer herrscht in meiner Seele” (Christiane Eda-Pierre)
18. Die Entführung aus dem Serail, K.384 / Act 2 – “Traurigkeit ward mir zum Lose”
19. Die Entführung aus dem Serail, K.384 / Act 2 – “Nun, Konstanze, hast du dich entschieden?” (Renate Pichler)
20. Die Entführung aus dem Serail, K.384 / Act 2 – Introduktion – “Martern aller Arten” – “Doch du bist entschlossen” (Christiane Eda-Pierre)
21. Die Entführung aus dem Serail, K.384 / Act 2 – “Kein Bassa, keine Konstanze mehr da?” (Pia Werfel)
22. Die Entführung aus dem Serail, K.384 / Act 2 – “Welche Wonne, welche Lust” (Norma Burrowes)
Vienna, May 29, 1782 (Mozart was 26)

I can’t believe I’m going to type these words: I look forward to hearing Part II tomorrow.

Wow.