Mozart: Essential Works for Beginners
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- เผยแพร่เมื่อ 29 ก.ย. 2024
- Mozart: Essential Works for Beginners
Eine Kleine Nachtmusik
Symphony No. 40 in G minor
Divertimento in E-flat for string trio (K. 563)
The Marriage of Figaro
Clarinet Quintet
Piano Concerto No. 21 “Elvira Madigan”
Gran Partita
Don Giovani
String Quintet No. 3 in C major (K. 515)
Sinfonia concertante in E-flat for Violin and Viola
![Mozart: Piano Concerto No. 17 in G major, K.453 [Uchida/Tate]](http://i.ytimg.com/vi/xlMWXBQaBQw/mqdefault.jpg)
![Mozart: Piano Concerto No. 17 in G major, K.453 [Uchida/Tate]](/img/tr.png)
Wonderful list. I know you wanted to keep it at 10 pieces, but I’d like to add an 11th that I could not live without: the clarinet concerto. When I worked at The Record Hunter many years ago, the one record that would always sell itself when put on the store sound system was the Szell recording of the clarinet concerto on one side and the sinfonia concertante on the other-GLORIOUS!
The Clarinet Concerto is Mozart's greatest work. But he is extremely uneven.
I always thought Mozart weren’t for me, but then I got into his late operas recently & then bingo 🎯
This Mozart fellow has a bright future.
He needs to establish a social media presence though...
Carl Stamitz also wrote a sinfonia concertante for violin and viola. Carl Stamitz was no Mozart, and his work isn't on the same level as Mozart's (let alone essential), but it's still pretty good. As the saying goes: people who like this sort of thing will find it the sort of thing they like. You can hear both of them on an album with Isaac Stern and Pinchas Zuckerman, with Daniel Barenboim conducting the English Chamber Orchestra.
Personally, I love them. After I read Barry S. Brook's articles on the subject, I collected all the Classical symphonies concertantes I could find. (MDG, for example, has a nice disc of symphonies concertantes by Franz Danzi, Ignace Pleyel, and Antonio Salieri). In addition to being enjoyable to listen to, they're a good introduction to the musical scene in Paris during the Classical period.
I cannot resist: the actor was David Ogden Stiers, a good friend of long-standing. The character's (CHARLES EMERSON WINCHESTER's) musical tastes were a reflection of Stiers's musical tastes. His collection of LPs and CDs was vast (when he died, an entire warehouse in Oregon housed the Oregon part of the collection; he also had an LA collection), and while he was not a musician by training, he conducted - always as fundraisers - all over the US, as well as being conductor for the Yaquina Bay Orchestra on the coast of Oregon. Although the character played the French Horn, DOS did not.
What does this have to do with the topic? Maybe explain for others
@@murraylow4523 At 16:40, Mr. Hurwitz references the final episode of MASH, and the Mozart clarinet quintet, and has trouble remembering the actor's name. (No harm done.) I provided the actor's name, and thought it might be interesting to note that the MASH creative staff took the musical interests of CHARLES EMERSON WINCHESTER from the actor who portrayed him (David Ogden Stiers.) I hope this clarifies.
Ok
@@jamarsilia You're welcome. And I hope this did not distract from the worthy Hurwitz recommendations!
@@WestVillageCrank He was a great character. The episode where he uses the Ravel Piano Concerto to help the pianist soldier who lost his right hand gets me every time.
About 3 years ago you announced that you won't talk about Eine Kleine Nachtmusik. I am so happy that you changed your mind.
I did? Oh, well.
Dear Dave. What a task! As you know, if forced to an answer, Mozart is my favourite composer. It’s something about him never becoming boring on endless repetition (I’d like some thought from others about why this is, suspect it’s not just me) and maybe because he had such an overall attractive personality and shockingly fast mind, almost like a computer, but not like a computer.
Glad your list didn’t overdo it with the minor key works (eg including the C Major Quintet and Concerto 21). Virtually all of it is major key stuff. I suppose you’re inviting us to suggest other things, although your list is great given the abundance. So maybe Symphony 41 rather than 40, because that finale is so really overwhelming and gives you a sense of how Mozart’s talent can be quite quite shocking. Maybe also, because I like it so much, the two piano sonata (I think in D major) where you can see just how remarkable he could be with simple material like scales! It’s all marvellous though.
Expect a lot of folks discovered the clarinet concerto in that great scene from "Out of Africa," where Robert Redford takes Meryl Streep up in his bi-wing for her first-ever thrilling experience of flight--all to the Adagio from the concerto. How can she not fall for him?
Just began listening, but how can the concerto for Flute and Harp be considered sub-par and something he just "tossed off"? It is a lyrical masterpiece!
Yes of course it’s lovely! It’s all relative. If I recall correctly, Rosen is trying to back up his intuition that Mozart was the greatest long term planner he had encountered in music, so he wants us to focus on the things where that becomes clearer (like the da ponte operas with those act finales). Mozart could produce very beautiful things very very quickly, so that he could toss things off isn’t exactly being rude about him, his speed at composition is one of the marvellous things about him.
I understand the context with which Rosen made that comment, however, I sometimes think if we didn't have such biographical information on composers (the commissions, the supposed fact that he hated the flute and harp, etc) we would pass less judgment on certain works...for me, that concerto is an absolute jewel!!! I can't even believe how amazing his writing for both the soloists is, its like a miracle!!!
Well yes, but as Tovey points out, the harp part is actually unplayable as written, so either Mozart was playing a joke on his harpist or he didn't know (or care) what the instrument could do.
@DavesClassicalGuide is that the only time he wrote for harp? I think in terms of note choices he was spot on...so maybe he was a bit like Beethoven in being almost indifferent to the needs of the players if it's what they heard
I like that observation. Very Mozart to write something under duress that was unplayable! @@DavesClassicalGuide
You're a brave fellow. I couldn’t make the selection from the (as you say) the sheer volume of Mozart's output. Since I came to Mozart pretty late, I have no idea how to introduce newcomers. This seems to me an excellent list.
This a perfect list. Wouldn't change a thing. I might sneak in the aria "Ruhe sanft" for soprano and solo violin from Zaide but just because it's so damn beautiful.
How about that 12 tone row at the start of the development in the last movement of Symphony 40?
I am so happy you chose the 21. piano concerto. It was one of the first pieces of classical music I listened to as a toddler (after eine kleine Nachtmusik) and it remains my desert island piece (I was brought up on Barenboim but have since primarily switched to Casadesus/Szell which is just perfect) . I am always disappointed when I look at lists of his "best concerts" and it is always way down the list and I never understood why. The 20. is the usual "best" concert. For me it was never the famous 2. movement that did it for me but the fantastic melodies in the first movement.
I don't think librettoness is a word. It could be librettitude.
I thoroughly approve of listing Figaro before Don Giovanni. It's hard to decide which is greater, and approaching DG with the notion that one must find it superior does no one any good. I only wish that, in describing the structure of recitative alternating with arias, you highlighted the wondrous finales! Here we have drama (or at least plot) galloping forward with non-stop music. Arias are so dull by comparison.
About the Sinfonia Concertante I just want to say that the stealth entrance of the violin and viola in the first movement is one of Mozart's most inspired and affecting moments. I get chills just thinking about it.
These aren't in any particular order. And the arias are NOT dull. Good grief!
@@DavesClassicalGuide Of course they're not dull, and let the record show I said "BY COMPARISON." Anyway I mean that a procession of only arias (especially the more formal, opera seria style ones) can get a little monotonous. It can also happen when arias for minor characters that are traditionally cut are restored. Duets, trios and other ensembles seem to bring out a special quality in Mozart. Think of the first act of Così fan tutte!
Antonio Salieri. Villain, genius, or just mediocre? Maybe a future video or maybe just a overflow discussion when you get to S?
He was a pretty good composer! It’s just that, you know….
He was a good composer. It’s just unfortunate that he was around at the same time as 3 geniuses. I feel he would be remembered more if he was active in that transitional phase between the Baroque and Classical periods
He was Schubert’s teacher…@@mitchellgeorge6031
It took me a long time to really appreciate Mozart and the way I appreciate his music differs from how most people do. I really can't get into his operas, but that's not his fault. I just dislike opera buffa (I'm a baroque opera/opera seria guy so give me Rameau, Handel or Puccini). Luckily Mozart was an insanely prolific composer to balance out his short life and we have tons and tons of gorgeous music to choose from. Symphony No. 39 is my favourite of his followed by no. 41. Somehow No. 40 doesn't appeal to me as strongly as the other two. Interestingly I do appreciate early Mozart a lot. I find it ambitious and edgy. For example the five Violin Concertos are works I enjoy a lot. Give me any chamber music by him and I'll enjoy it. I don't care if he was just a kid when he wrote it! Anyway, it was the Piano Concertos that made me appreciate Mozart years ago...
Hey Dave, thanks for this essential list! How about adding a curated list of recommended discs/performances for each (anyone)? Especially the Divertimento & Sinfonia concertante. BTW, I absolutely love your recommendation of the Grumiaux set of the Quintets. Thank you!
I may have to read Mr. Rosen’s book. Some, although certainly not all of W.A. Mozart’s work sounds like one pretty, amalgamated mass to me. One man’s trash is another man’s treasure, so I’ll just continue to take what I enjoy and leave the rest.
I learn so much from you. Thank you!
Great video, great choices 👍🏻
In a film which shall go nameless (no need to provoke ire should I advocate a work of fiction that baselessly puts the personal character of the composer into the gutter, or, the loony bin), an "establishment" composer wistfully observes this about the Gran Partita's slow movement:
"On the page it looked...nothing. The beginning; simple, almost comic. Just a pulse, bassoons and basset horns...like a rusty squeezebox. Then suddenly; high above it, an oboe, a single note, hanging there unwavering, until a clarinet took over and sweetened it into a phrase of such delight. This was no composition by a performing monkey. This was a music I’d never heard. Filled with such longing, such unfulfillable longing. It seemed to me that I was hearing the very voice of God."
He literally mentioned that exact scene in the video. And there’s no need to censor the name of the film. Amadeus is a wonderful film, one I tend to rewatch about once a year. Yes it’s not historically accurate, but it doesn’t pretend to be, and it’s too good of a film to avoid because of it.
@@JesusDiaz-pb8wp Next step is to describe the "Capezzoli di Venere" scene :--) Yes, David mentioned this moment when describing the piece, but I don't recall him referencing the scene in the film. I thought the entire monologue to the baffled priest would add a lot to what David said. It's supremely affecting, isn't it.
I understand you ask us not to suggest anything to add to the beginners’ essentials list, but there is no essential Mozart sacred music? I understand leaving off the Requiem since it isn’t all him, but none at all?
Nope. It's the least interesting (and necessary) part of his output.
@@DavesClassicalGuide C minor Mass ? Ave verum ? Vesperae ?
I do understand where you’re coming on this. But what about the Masonic Funeral Music, which I imagine many people don’t know. It is sacred and rather extraordinary. Can’t think of anything really like it and it’s much more concise and effective than Berlioz
I’m not a Mason either but mostly they still do good charity stuff as far as I know.
But in that piece- it’s only about 7 minutes or so- you can hear Berlioz etc coming.
Don’t agree entirely with Dave’s aversion to the Magic Flute (it’s racist yes, but we can now make a list of all the operas that are). But it ends with the inclusion of a women in the Order, so that is interesting
@@philippecassagne3192 Wouldn’t want to be without “Et Incarnatus. “ Bel canto before there was bel canto.
Remarkable video, Dave, and well developed as it should be in such case. I wanted to take that opportunity to exchange with you about the Requiem, which, I know, is not among your favourites. Don't you think it would be better if the recordings of the Requiem were "cleaned" by removing all the parts which are known not to be at all by Mozart (so, from Sanctus to the end). The Requiem would therefore end on Hostias, leaving only pieces which are either fully by Mozart or essentially only re-orchestrated. Would that reconcile you somewhat with that work ?
Interesting. Personally I like the requiem, although acknowledging he couldn’t finish it. There’s some startling stuff in there. Poor old Sussmeyer gets a lot of flak but he did the best job he could do and he knew Mozart pretty well. He also had to fill out the recitatives for the Clemenza opera so he needs credit for a historically thankless task. There are other completions but as we have been in the late 20th century/ early 21st, they are a bit quixotic. So the Sussmeyer one is probably what is the best of a speculative bunch.
No, it wouldn't work for me. There are some beautiful bits, of course, where Mozart responds vividly to the text, but on the whole I just don't find his sacred music very compelling (and I had to sing a lot of it). The problem isn't Sussmeyer. It's Mozart.
"People thought that the funny ending was superficial and scurrilous, but Mozart was..."
I really thought you were going to finish that sentence with "but Mozart was a superficial and scurrilous kind of guy."
Nice. He was a bit, but who doesn’t like that beautiful ending in the more comic version? Stravinsky cribbed the feel of it for the end of the Rakes Progress, and that works marvellously too :)
Perfect timing. I just finished watching Amadeus (meh) and several docs on Mozart. After listening to a "hits" CD, I'm still team Beethoven.