Mozart studied Bach intensively towards the end of his life and this is one of the pieces where it becomes really apparent, especially when it’s played on organ.
While it is true that Mozart studied and admired Bach much, I can't see the latter's influence in this piece. To begin with: it's mostly homophonic, while Mozart and his contemporaries admired Bach for his fugal composition. The adagio's pathetic chromatism is fully empfindsam, the allegro is trademark Mozart rococo with hints of early romanticism (e.g. a modulation into the mediant at 3:34). This piece looks forward, not back.
@@Steinbach1984first of all, Bach’s works look forward. Second, there’s polyphony through the work, some of the examples from the 3:00 minute and on clearly reference Bach’s organ works (of course with Mozart’s own character since he was aiming at integration of styles). It is not a homophonic work, it is precisely the blend of both, discrete polyphonic passages with Mozart’s classical style. Chromatic passages also tend to be both Mozart’s and Bach’s quality. And Bach’s work are full of “hints of romanticism.” The so-called “distinct Mozart’s rococo style” is here enriched with said polyphonic passages and swift modulations-another example of Bach’s influence which place it outside of its origins in earlier Mozart’s works.
@@Steinbach1984tons of Bach’s work have “hints of romanticism” and the so called distinct Mozart’s rococo style belongs to past while blends with polyphony inspired by Bach bring it forward. Nicely-phrased stupidities are still stupidities.
@@gregoryborton6598 What do you think about the most unusual statement in music criticism of the 20th century to Mozart: A German musicologist Hans Mersmann (1891-1971) wrote: “Bringing Mozart to a formula in terms of style history is hardly essential. The development, which he summarizes, has all the characteristics of the Baroque. His principle of closed forms, the dissolution of the surface until it merges into space, the decentralized power, the wandering fantasy, his lack of construction and stylization places his work itself in the same context of his time. It is the late, mature fulfillment of the Baroque ideal. These characteristics have also been described as romantic; this is in the same direction and establishes the same decisive contrast: to the classical style principle. Mozart's art has nothing in common with that. The Beethoven of the Fifth Symphony denotes a new level in the history of styles, the next, opposite swing of the pendulum. This new level became (despite all the contradictions that still arose) the basis of the 19th century. A new connection is being created here. If today we go back through this century to its roots via Mahler and Bruckner and Brahms, then this path ends in Beethoven. Still have it in him and we mean ourselves. But Mozart (if we are not looking for him timelessly in his fullness like Goethe) we love as we love Bach: as a distant, detached, pure, with the longing for something irretrievably lost.”
Très rare d'entendre des œuvres de Mozart pour orgue. Extrêmement intéressante. Merci pour cette interprétation belle et sensible. Cordialement Olivier
Mozart studied Bach intensively towards the end of his life and this is one of the pieces where it becomes really apparent, especially when it’s played on organ.
There is a wonderful neo-baroque quality to his later works, especially apparent in his great mass too.
While it is true that Mozart studied and admired Bach much, I can't see the latter's influence in this piece. To begin with: it's mostly homophonic, while Mozart and his contemporaries admired Bach for his fugal composition. The adagio's pathetic chromatism is fully empfindsam, the allegro is trademark Mozart rococo with hints of early romanticism (e.g. a modulation into the mediant at 3:34). This piece looks forward, not back.
@@Steinbach1984first of all, Bach’s works look forward. Second, there’s polyphony through the work, some of the examples from the 3:00 minute and on clearly reference Bach’s organ works (of course with Mozart’s own character since he was aiming at integration of styles). It is not a homophonic work, it is precisely the blend of both, discrete polyphonic passages with Mozart’s classical style. Chromatic passages also tend to be both Mozart’s and Bach’s quality.
And Bach’s work are full of “hints of romanticism.”
The so-called “distinct Mozart’s rococo style” is here enriched with said polyphonic passages and swift modulations-another example of Bach’s influence which place it outside of its origins in earlier Mozart’s works.
@@Steinbach1984tons of Bach’s work have “hints of romanticism” and the so called distinct Mozart’s rococo style belongs to past while blends with polyphony inspired by Bach bring it forward. Nicely-phrased stupidities are still stupidities.
@@gregoryborton6598 What do you think about the most unusual statement in music criticism of the 20th century to Mozart:
A German musicologist Hans Mersmann (1891-1971) wrote: “Bringing Mozart to a formula in terms of style history is hardly essential. The development, which he summarizes, has all the characteristics of the Baroque. His principle of closed forms, the dissolution of the surface until it merges into space, the decentralized power, the wandering fantasy, his lack of construction and stylization places his work itself in the same context of his time. It is the late, mature fulfillment of the Baroque ideal. These characteristics have also been described as romantic; this is in the same direction and establishes the same decisive contrast: to the classical style principle. Mozart's art has nothing in common with that. The Beethoven of the Fifth Symphony denotes a new level in the history of styles, the next, opposite swing of the pendulum. This new level became (despite all the contradictions that still arose) the basis of the 19th century. A new connection is being created here. If today we go back through this century to its roots via Mahler and Bruckner and Brahms, then this path ends in Beethoven. Still have it in him and we mean ourselves. But Mozart (if we are not looking for him timelessly in his fullness like Goethe) we love as we love Bach: as a distant, detached, pure, with the longing for something irretrievably lost.”
Beautiful underrated piece and beautiful interpretation
Ich hab mein Leben lang, alle alten Meister fleissig bestudiert...W.A. Mozart
Très rare d'entendre des œuvres de Mozart pour orgue. Extrêmement intéressante. Merci pour cette interprétation belle et sensible. Cordialement Olivier
9:50 *Esto es como un triste lamento; tan dulce; tan melancólico.*
Magnifique…..
Wonderful.
A eso le llamo buena música amo lo clásicos
❤️
How does an organ play a sfp?
Manual change probably?
Trasumanar significar per verba...
An die freude
This performance is terrible. Truly the worst I've heard in 20 years of this work.
I wonder, what might make you say that?
@@benthepen3336 mentally disability, I guess