The Secret Mozart
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CD Details
Composer: Wolfgang Amadeus MozartEdition: Music CD
CD Release Date: 2006-07-11
Music Label: RCA
Soundtracks:
- Allegro in G minor, K. 312
- Andante & 5 Variations in G, K. 501; Andante (Thema)
- Andante & 5 Variations in G, K. 501; Var. 1
- Andante & 5 Variations in G, K. 501; Var. 2
- Andante & 5 Variations in G, K. 501; Var. 3
- Andante & 5 Variations in G, K. 501; Var. 4 (minore)
- Andante & 5 Variations in G, K. 501; Var. 5 (maggiore)
- Minuetto in D, K. 355/Trio da M. Stadler; Minuetto
- Minuetto in D, K. 355/Trio da M. Stadler; Trio & Minuetto reprise
- Marche funebre, K. 453a
- Andantino, K. 236
- Klavierst?ck in F, K. 33b
- Adagio for Glass Harmonica, K. 356
- La?t uns mit geschlungen H?nden K. 623
- Rondo in F, K. 494
- Theme & 2 Variations in A, K. 460; Theme
- Theme & 2 Variations in A, K. 460; Var. 1
- Theme & 2 Variations in A, K. 460; Var. 2
- Fantasia in D minor, K. 397
- Sonata in D, K. 381; I. Allegro
- Sonata in D, K. 381; II. Andante
- Sonata in D, K. 381; III. Allegro molto
- Fantasia in D minor, K.397 (with coda)
Music reviews of The Secret Mozart
Music Review: SPIRITUAL VALUES
Rating: 5 Stars
At long last my collection owns a clavichord recital - John McCabe's interesting disc `Howells' Clavichord' turned out, on closer inspection following purchase, to be something else. The `problem' with the clavichord is that it does not have a big voice; indeed a small clavichord can hardly be heard at the other end of any but a small room. However even the smallest can be heard by its player, and one particularly unpretentious specimen was up to the job of test-driving the music of Mozart.
This disc provides an hour and a quarter of music, and three instruments are used. The one from the house of Hass is an early product and is the richest in tone. The Schiedmayer instrument was built in 1791, the year of Mozart's death, and has a brighter sound. The third is Mozart's own clavichord, of unknown manufacture and more meagre in effect than the others, but if it was good enough for him it is more than good enough for me.
What this recital has done is to force me to do in practice what I like to think I do in theory, namely to focus on the pure content of the music, whatever the instrument or instruments involved. I thrill to the Mozart-playing of Serkin or Brendel or Perahia on modern grand pianos, and I admire the sensitivity of Serkin in particular in scaling down his huge touch to a sound appropriate to what he is playing, but a sound, for all that, that is still bigger than any that Mozart ever heard. Mozart on the other hand was glad of all the instrumental tone he could get when giving his works to his public, but when he was alone with his muse a small clavichord was enough. The specifics of the instrument, it seems to me, are only a kind of clothing or lighting in which the music is presented. It may be more, or less, appropriate in each case - for instance Mozart's spine-tingling Adagio for Glass Harmonica is obviously inspired by the ethereal sound of that instrument and could not be convincingly rendered by even the finest brass band. However the glass harmonica is still there for the piece, not the other way about, and you will hear it very effectively performed here by Hogwood on Mozart's own little clavichord. Coming in from the opposite angle, I hear from Hogwood a very dramatic and imposing crescendo in the D minor Fantasia. If I had been so foolish as to play it back-to-back with a piano rendition either I would not have found it so effective or I would have found the piano performance noisy and coarse. The lesson I draw is clear - the specifics of the sound in terms of volume, tone and scale are secondary. What is essential is the thing that is of the spirit, the music `itself'.
I found this recital completely riveting - after all this is how Mozart's music would have sounded to Mozart. In case Hogwood needs any introduction, he is a musical scholar as well as performer of the highest eminence, and a leader of the drive, 30-40 years ago, towards `authenticity' in performing early music. The agenda of the recital is imaginative, and there are several pieces included that I may not have heard previously. Particularly welcome are two items, the longest in the programme, for 4 hands in which Hogwood is partnered by the clavichord specialist Derek Adlam. These are given (naturally) on the two bigger instruments, and they have a rich and agreeable sound that should do a lot to convert any waverers to this beautiful instrument of music.
Really, I can't recommend this set highly enough. The recording is admirable, and I played the disc at the same volume-setting that I use for classical chamber music, or piano recitals, or Brahms symphonies, or for that matter Mahler's 8th or The Dream of Gerontius. The liner note is likewise admirable, telling us adequately and without verbiage what we need to know about the music, the performers and the instruments. If you choose to take my word for all this and join me in an unfamiliar but particularly beautiful sound-world, then welcome.
General CDs
- Styles > Classical
- Ballets & Dances > Minuets
- Chamber Music > General
- Featured Composers, A-Z > ( M ) > Mozart, Wolfgang Amadeus
- Featured Performers, A-Z > ( H ) > Hogwood, Christopher
- Forms & Genres > Fantasies
- Rondos
- Short Forms > Character Pieces
- Variations > Variations
- Historical Periods > Classical (c.1770-1830) > Forms & Genres > Chamber Music
- Vocal & Song
- General
- Instruments > Keyboard > General
- Mozart, Wolfgang Amadeus - Works by Wolfgang Amadeus Mozart
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