Wolfgang Amadeus Mozart - Quintet for Piano and Winds in E flat Major, K. 452
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- เผยแพร่เมื่อ 15 พ.ค. 2024
- - Composer: Wolfgang Amadeus Mozart (27 January 1756 -- 5 December 1791)
- Performers: Alfred Brendel (piano), Heinz Holliger (oboe), Eduard Brunner (clarinet), Hermann Baumann (horn), Klaus Thunemann (bassoon)
- Year of recording: 1986
Quintet for piano, oboe, clarinet, horn & bassoon in E flat major, K. 452, written in 1784.
00:00 - I. Largo - Allegro moderato
10:11 - II. Larghetto
19:47 - III. Rondo. Allegretto
By 1784, Mozart's career and indeed his life were in full bloom and he was as happy and wealthy as he would ever be. His next successful opera -- Figaro -- and his next great symphony -- the 38th -- were still at least two years off and he had turned instead in this period to the piano concerto. In 1784 alone he wrote six of these and in 1785 three more. His four horn concertos were also products of this period. In the midst of all this large scale writing he crafted this quintet and upon performing in it himself on April Fool's Day, he pronounced it "the best thing I have so far written in my life" in a letter to Leopold. In three movements and lasting only 25 minutes, it would seem an unlikely candidate for such an appellation. An unexpected but powerful vote of confidence for it came in during 1797 when another well known resident of Vienna produced a similar work which aped it in key signature, instrumentation, and general design. The younger man was Beethoven and his quintet, Op. 16, is high tribute indeed.
In some respects, Mozart's quintet reflects his ongoing preoccupation with the piano concerto as the piano's role in the piece is at times disproportionate. It is also unabashedly a chamber work, Mozart having at last washed his hands of writing dinner music for the archbishop.
- Opening with an extended largo, the first movement in particular is concerto-like with the piano either in charge or very near the surface virtually throughout. The writing is open and insistent rather than forceful, and charm prevails.
- The second movement is a gentle and lightly textured larghetto in which the wind instruments at last emerge with passages of their own and the balance of the piece is here more chamber-like.
- The five-minute allegretto finale once again appears to be a sort of miniature piano concerto although cadenza-like passages for the various wind instruments appear at several points. The work ends with a flourish from the piano and tonic chords in the winds -- a concerto-like coda ending.
The piece is superbly crafted and effective, but one would wonder at Mozart's exuberance in describing it as "the best thing I have so far written"... - เพลง
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The tiny horn melody at 0:53 and the section after it with that unbelievably simple but so so very much beautiful piano part and decending scales on the winds is for me, one of the most beautiful moments in music
The horn gives me chills. The voice of God :)
The tiny horn melody at 0:53 is one of the most beautiful parts of any piece I’ve ever heard
All of the performers are incredible of course, but I’m so impressed by the precision and delicacy of the pianist, and the articulation and blend of the hornist. It’s clear they spent a lot of time playing with woodwinds - their articulation matches that unique crispness of the reeds so well.
One of the single greatest compositions in all classical music. Impeccable architecture, sublime melodies, ingenious interplay between the instruments.. and the story unfolds so effortlessly and so naturally.
Mozart wrote in a letter to that this was the best he had composed :) it’s beautiful 😍
ElSmusso its very beautiful but I doubt he meant it literally. I don't think we should take a single personal letter too seriously. It may be but I don't believe so.
It truly is. One of my favourite works by Mozart.
It is one of the best pieces written by Mozart. I compare it with the beatiful ouvertures to the operas.
Yes but it was before Figaro and the 1791 masterpieces
Anyone proffer why he thought that?
1:00 That 5-6-consecutive is just pure heaven. All those nice little suspension notes in the piano accompaniment are really spicy and just make this incredibly mellow sound. I also love how Mozart gives all of the lines in that section their own unique identities with their respective dramaturgical arcs as opposed to just using vocabulary from the theoretical phrase book. Yes, there are canonic entrances, but all those little deviations are the proof of this being a masterwork. E.g. that difficult chromatic horn part in the second bar which supports that wonderful quinte superflue. It just gets richer and richer the longer the sequence lasts. Each detail, however minor it may seem, is utterly important to the whole. Just wow.
The present musicians can't beat Mozart.
Mozart considerava questo quintetto il suo capolavoro assoluto...in effetti è di un equilibrio, una perfezione stilistica e formale e di una classe infiniti... è musica di pura trasparenza e cristallina bellezza...vi è inoltre tanto tantissimo sentimento in questo pezzo... è come un Dipinto di Raffaello o una scultura del Canova...
Come tutti i lavori di mozart...
This is like the cutest and most innocent thing ever
If that’s all you hear I recommend another listen
Mozart was far from innocent!
@@bagochipsmusic5687 that's true :D but it doesn't mean that his music can't sound like that
@@chipichipichapachapa733 You're right! Like, if you don't understand German, Leck mich im Arsch is a beautiful innocent tune!
@@bagochipsmusic5687 This humour was prevalent back then. Even Chopin the INTROVERT had scatology in his letter. Children's lullabies were filled with poop jokes.
I reiterate Brian Bernstein's statement below: "One of the single greatest compositions in all classical music" --and that is not an exaggeration! That any human being could put together something so immeasurably intricate without sounding intricate --as if composed by a child-- boggles the mind. Yet that is the least of it. Beneath that classical veneer lies a singularly incomparable quality --how can i put it?-- YES: a divine naiveté --the defining characteristic of Mozart which is expressed "a la perfección" by this grand ensemble.
Music not from this world. Thanks for publishing!
24:02 absolutely amazing thing ! The winds crescendo result to the chord on the piano next measure, chord who sound naturally diminuendo, with the same timbre and colour than the winds...EVVIVA TRAZOM !
“"I have composed a Quintet for Oboe, Clarinet, Horn, Bassoon and Pianoforte, which has been received with extraordinary favor. (Kochel, No. 452.) I myself think it the best thing I ever wrote in my life."”
- Mozart: the man and the artist, as revealed in his own words by Wolfgang Amadeus Mozart
a.co/01CZgT7
Great comment, thanks! check my channel
A wonderful piece indeed, one of my all-time favorites, and an excellent performance here. But - I wonder how many time Mozart made a similarly enthusiastic statement about a piece he had just written?
This piece never fails to make me smile...
Thanks, Wolfie!
The most beautiful piece that Mozart ever write!
couldn't agree more with Mozart himself... One of the best opus he have ever written
Juan Manuel Sanchez and yet it's less attractive than the similarly scored Beethoven op. 16
@@timothythorne9464 Less attractive to whom? Critical opinion seems more favorably disposed to this work compared to the Beethoven.
Brian R. I prefer the Beethoven work, op. 16, particularly when scored as a piano quartet (piano w/ violin, viola and cello). This work is the best of its kind IMO
@@timothythorne9464 Hmm. I guess that's one of the main reasons I like this work more, then. The woodwind parts seem more essential to the piece as a whole, as a truly integrated chamber work. The themes written for them are idiomatic, with Mozart's ear for the timbral/sonoral capabilities of each woodwind instrument that he perfected from writing all those woodwind divertimenti. The Beethoven seems like a small scale piano concerto where the woodwind parts can be exchanged for other instruments.
Brian R. I'm giving the Mozart quintet another listen. Maybe I'm missing something. It's just the Beethoven piece really appeals to me, and the finale is so animated and catchy. But I'll run through the Mozart again before determining one is "better" than the other.
that larghetto is inexplicably beautiful
The second movement is one of the most profound, mysterious and strangely beautiful pieces ever written.
Zac it is nice. It's amazing how the whole piece has an operatic character to it, similar to Carl Maria von Weber's pieces for clarinet and piano, and his own opus 34.
This is one my all-time favourite Mozart`s chamber works,because I love the wind instruments as well as the piano,especially the second movement is so beautifully well-performed and well played.
The definitive performance of this work.
Thank you. This is beautiful.
Невероятно! Потрясающе!
Firstly, impressive, very nice. let's see Paul Alan's card. Secondly 0:42 amazing oboe note, literally the best way to voice a diminished 7th . thirdly 0:54 - 1:18 is absolutely blissful, an underused moment in the piece which is thoroughly beautiful.
С 0.54 до 1.18 мне с первого раза понравился также! Этот фрагмент совершенно невероятный!
Thanks for uploading these masterpieces! ❤
Exquisite performance!
The modulation from B♭ major to e minor and back is amazing. (Development of second movement.)
I fully agrree with you.
Definitely one of the highlights from the whole piece. The transition from E minor to B-flat especially is supposed to be difficult (since they are literally farthest keys to each other) but he did it in a matter of several bars, during which the music still sounds all natural and flawless....like a champ. Pretty sure that's a part of why he is so proud of this particular piece.
He isn't B flat major, he's in E flat major starting at 15:33 when section "Q" starts. He uses C7 as a pivot chord, which is V/ii in E flat major and the augmented 6th chord of E minor. Our ears are expecting the C7 chord to resolve to F minor, the ii chord of E flat major, instead we get a cadential 64 chord in E minor. Not trying to rain on anyone's parade, but this is incredibly standard modulation up a minor 2nd interval. We'd expect E major to follow the dominant B chord, as E is the Neapolitan of E flat and would allow a very easy transition back to E flat major if desired. Following a B major chord with E minor instead of E major is as easy as 123, though I agree it provides a nice surprise.
The modulation from E minor back to B flat is pretty cool though... using C major and D minor as little islands to jump on, sandwiched in between dual functioning diminished chords. C major even sounds like fresh harmony here, even though he used it to modulate to E minor literally five seconds earlier.
Magnificent!
SIMPLY LOVE AND BEAUTY
What did an impressed person have to say about this piece? I'm blown away by this.
Only famous intrprets (Brendel, Holliger !!!) have contributed to this recording of the very beautiful and elegant quintet of Mozart for piano and winds. The invention and the sense of tones of Mozart ids very rich, as we can hear in that awesome rrecording.
Mozart's lovely, miraculous music. Perfect and divine and borne of love. He put his entire heart and soul into this quintet!
He told his father it was best thing hed done!
Fabulous playing from a truly all-star cast.
Brendan on piano, Heinz holliger on oboe!!!
sublime creativity🌠
I wouldn't be surprised that Mozart thought this his best piece yet if the performers in the premiere also did such an exhilarating accelerando al fine.
Yes the composer wrote his father best thing he'd done so far. Thats saying a LOT given the composers already massive oevre
Gosh, what lovely music, and played by this group with such attention to nuances of dynamics. As for the writing, I especially love how, in the middle movement, the development in the development section is almost not as intricate as the "development" that he cooks up for the recapitulation!
Marc Vincenti
Yes, Mozart always had little 'tricks' like this up his sleeve :)
It was said that this was his (Mozart's) favorite. Hence, that is the reason for my being here.
Yes indeed! You can read it in my video description :)
He really thought so and so he was right !
Maybe he was drunk af
@@Primalrage76 Maybe he was just absolutely right.
In a letter to his father he confessed proudly that he considered this piece his best UNTIL THEN (1784)
Beauté de ... W.A.Mozart et de ses interprètes ici.
An absolute beauty
Here we have my Topp team,only to say to olla-vogala,You have a very good taste!!
In terms of musical "deepness", this quintet was writtten rather for friends and aristocratic sociaty. So, it does not have the "deepness" of the string quintets or the piano quartets. Nevertehelss, this is by no ways a "weak" point but a deliberate choice of a genius, and the outcome is nothing else than a top level work, much better thazn for instance Beethoven's similar work op. 16.The 'dialectic use' of piano and winds is unprecedented in my opinion before XXth century (Stravinsky, Hindemith, Webern, French music by Milhaud and Poulenc). The genuis of Mozart had many faces: you can hear it for uinstance in his operars 'Don Giovanni' or 'Die Zauberflöte'. One of the most outstanding harmonic analysis books which I know (in French or English) is the (unfortunalmtely) poorly known 'Antitraité d'Harmonie' by Mrs Andreani, ranging from Monteverdi to Debussy and Ravel. In a key section, one of the leading scores that she chose as a guideline through the entire section is this score and no else by Mozart. When I was younger, this book brought me a lot in getting a high level vision of tonal harmony as a whole - rather than Schoenberg's of Schrecker's books. .
Merveilleux échange entre le piano les cordes et les vents... de bout en bout la grâce, l’élégance et la beauté
There is no stringed instrument here
only the piano and wind instruments
@@jesusmanriquezsantana1590
Thanks for the précision Jesus
Even without a great recording (clarinet is always "far"), great interpretation and great listening!
This seems like a good photoshoot music. This and a flowing river.
Having listened to both this and Beethoven’s opus 16, the former definitely surpasses the latter. Mozart’s seems so much more subtle, and texturally pleasant.
Is there some reason these two pieces should compare?
@@will8026 Yeah bitch. They're both quintets for piano and wind. Send me your skull measurements... NOW!
A masterpiece! Beethoven wrote a piece for the same instruments and it was a paean to Mozart but this is, at least in my opinion, far better. The horn melodies are sumptuous. And this is an all star group performing. Mozart also wrote amazing music for the clarinet.
Amazing
So sublime. This is my favorite version of this beautiful piece.
Bea,
how many versions did you actually heard that you can state that this is your favorite version?---there are the catalog about 25 recordings, if not more, for this wonderful piece ...( see Amazon)
Cool.
Mozart for President!
La crème de la crème - R.I.P. Eduard Brunner
So sad...
Divine
The melody played by the oboe @1:34 coincidentally sounds like the beginning of Beethoven's 7th symphony with the melody also played by oboe.
Yes there are a lot of elements from this piece that we can find in several concertos of Beethoven !
Instrumentistas de peso. Esse quinteto é uma das criações em que Mozart nos legou belas melodias, ricas sonoridades.
Neither cute nor innocent. Particularly the 2nd movement is the heaven on earth.
+olla-vogala
Thank you for sharing. Beautiful!
My pleasure!
3rd movement development starts at 21:90
22:00 actually
10:46 sounds so pop music
How?
Yeah cause it hints at a pop V - IV - I progression (though actually it's just an ornamental device since there's very little melody over it and the bass remains on scale degree 1).
作曲した本人が、最高傑作というものがコレです。
Sweet Dreams~ - NYC, 3/23/2019
It amuses me that Beethoven at an early stage in his career attempted a homage to this piece.
que belleza dios mio !!
Yes!
ugh!! beauty
Absulte beauty...😭
Yo I actually want to learn this it sounds really cool
On which instrument?
I ask because I frequently play it on clarinet.
0:53 Está parte parece compuesta por el mismísimo Dios 🥰🥰🥰
A 15:35, que cette phrase est belle...
2nd movement horn solo starts the development at 15:32.
This is basically a Mozart piano concerto without strings.
I think that would better describe Beethoven's quintet for piano and winds where the piano is dominant throughout. This composition is a true ensemble piece for 5 instruments. Even in the cadenza of the last movement, the woodwinds enter first.
This is basically a Mozart opera without the vocal parts
This is basically a Mozart mass without the church.
10:11 Mvt II
0:53
waaaaahhhhu
2:22
Why is the Clarinet in Bb not written as "Clarinetto in Sib/Bs" in the score (at the very beginning) ? I feel like there should be an 's' after the 'B' instead of "Clarinetto in Sib/B." I'm trying to get better at orchestration and I want to make sure that I am not missing something. Thank you so much ! :)
It’s because In Germany, the note 'B' is called 'H', while 'B flat' is called 'B' ;)
but play it over and over again
11:51
Vi prego.... restituiteci Mozart!
Can anyone give me any information about the score used here?? I searches through internet, and IMSLP, but found no usable full score.
+Sayantan Dutta This is the score I used, from IMSLP: javanese.imslp.info/files/imglnks/usimg/1/11/IMSLP135968-PMLP51439-Mozart_Quintet_K452_score.pdf
Yes I just found it...It is titled just Piano Score, I thought it is just the piano part...but when I found the Beethoven Quintet OP 16, in full score named Piano Part, I found it too...
Thank you.
Es lebe Sarastro!
Oh Fritz!please fetch me water and a plate of onions your heiness
Mozärtich gespielt ...
SInce when is a horn a wind instrument? I've never got this.
19:47
10:11
Is this written for an Eb horn as opposed to an F horn?
I think so because in the score as usual the horn is written without accidents.
maybe not his best but it's up there...
11:10
Is horn a wind?
Yessss
Third movement is a little fast?
5:30 Bach mass in B minor?
Il pollice in giù è uno scherzo.
Scherzinger, as In the "super charged waltz"?
Ce serait encore mieux si les musiciens respectaient davantage le texte. Pourquoi ce changement de tempo dans la conclusion du finale ?
The first movement feels more beethoven-like in structure than anything else I've heard from mozart
una delle composizioni più pallose della storia della musica
The effect is not the same after a Berg's opus and another Mozart's.
To me Berg's music is beautiful in an other way.
Che nervi la pubblicità che parte un secondo prima dell'accordo finale. Maledetti.
Io l'ho appena ascoltato e non c'è stata nessuna interruzione.
Mi ero lamentato per lo stesso motivo con un releaser.
Mi ha risposto che non dipendeva da lui la scelta del momento e la quantità delle interruzioni pubblicitarie. Si è anche scusato.
Isnt good music as its best when you almost dont notice it......
It would be better without the freaking stupid and noisy ads...
I think the piece would sound a lot better if it wasn't played on a modern grand piano, but on a historically appropriate one, for which it was written.
The modern grand piano just stands out too much compared to the other instruments, which at times makes the piece sound almost... clumsy.
One of the many reasons I don't like historical music played on modern instruments.
Boring. This interpretation has no drama
your comment is very, very boring. no drama! boring.
@@flyingdutchman773 This a comment section, everyone has the right to give his opinion.
@@Alkadondon well he just did give his opinion so what's your point, smartass?
@@stravinskyfan Are we going on YT to comment videos or other comments ? I don't know.
11:40 14:09 18:20
14:24