It has been recorded in 2008 by the Quartetto Tomasini for the Hungaroton Label. Mozart practiced viola and noted that he liked to play the viola when playing his chamber music with friends to be in the center of the harmony.Īn interesting fact that I learned making some verifications for this answer: Johann André, music publisher and purchaser of most of Mozart's manuscript after his death transcribed three Mozart trio with piano into string quartets, this is his opus 32. You can argue that in the first group there you can watch composers such as Mozart progressively developing a Mozartian style for writing cello or viola parts. But the first group has explicit parts for each player. In the two cases you have 2 to 4 string instruments and a keyboard. sonatas/double sonatas/trio sonatas with basso continuo such as the early works of Haydn (opus 1, opus 8) and many older composers, like Purcell, Buxtehude, Händel, Bach.trios/quartets/quintets with piano (such as the more than thirty found for Haydn in Hob XIV and Hob XV, Mozart works, and then later Beethoven, Schubert, Schumann).Haydn established the genre and Mozart followed studiously. In this sense a string quartet follows from this trend, as it is really an explicit form written out by the composer in four voices with only bowed string instruments. Cello Concerto in E Minor Op.85: Edward Elgar Jacqueline du Pre & Daniel Barenboim - Elgar Cello Concerto Watch on (This is a classic recording with Jaqueline Du Pre as soloist) The Cello Concerto was completed in 1919, hot on the heels of the success of his 1910 Violin Concerto and shortly after the ending of the First World War. This can be observed in most of Mozart's chamber music, notably trios with piano.Ĭomposers discovered that writing parts corresponding to traditional continuo instruments was an important mean of expression for their ideas and allowed a more distinctive style and experimentations.īy the way, several historians insist on the trio sonata origin of the quartet form (dumping the keyboard because of circumstances). Mozart by interaction and admiration of Haydn and later Beethoven renforced this tendency. This affects Haydn not only for chamber music but also his symphonies (the early ones have a continuo he used to play himself at performances, the latter ones had none).Īs musicians both proficient at the violin and at the keyboard, Haydn or especially Mozart could not be satisfied to let an interpret apply traditional recipes at the keyboard or the cello to follow their composition. I see Haydn truly at the turning point of those forms when each part of the continuo (string bass, usually a cello, and keyboard) are not being lumped together anymore as a background harmony and music tapestry but as individual members of a group. The development of cellists' virtuosity (such as Joseph Franz Weigl, friend of Haydn, Josef Fiala, Josef Reicha (friend of Mozart) and later the Duport brothers and Romberg) has been influential in this evolution and matched the mastery level and individuality of prominent violin and keyboard players/composers. It seems that available instrumentists (more than instruments) were key as well as a figure of the composer as an individualistic and total master of the music he writes.
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