VISIT WESTCORKMUSIC.IE

LATEST ADDITION TO THE ARCHIVE

Quintet for Oboe, Clarinet, Horn, Bassoon and Piano in E-Flat K.452

Wolfgang Mozart (b. 1756 - d. 1791)

Christoffer Sundqvist  (photo credit: Heikki Tuuli)

Christoffer Sundqvist (photo credit: Heikki Tuuli)

Composer
Wolfgang Mozart (b. 1756 - d. 1791)
Composition Year
1784
Work Movements
1. Largo - Allegro moderato
2. Larghetto
3. Rondo - Allegro
Artists
Julius Drake [piano], Hervé Joulain [horn], Peter Whelan [bassoon], Christoffer Sundqvist [clarinet], Ivan Podyomov [oboe]

Programme Note Writer:
© Francis Humphrys

This Quintet is one of the most joyous works of music ever penned. Mozart himself, writing two months after its composition, described it as the best thing I have ever written in my life. In the spring of 1784 Mozart was riding an incredible high of popularity. Taking part in twenty-two concert appearances in the space of a month many of them devoted to new works, such as the two wonderful piano concertos K450 & K451. The subscribers to his concerts were the cream of Viennese society and Mozart in his triple role as impresario, performer and composer was over the moon. But we must always remember the fickleness of the Viennese for only five years later Baron von Swieten was the only subscriber to Mozart’s proposed concert series in 1789.

One of the fashionable developments of the 1780’s had been the Harmonie or wind-band, often sextets or octets, which were hired to provide rich households with so-called Tafelmusik, just as in the last Act of Don Giovanni. The music for these occasions was often arrangements of popular opera melodies and, naturally, it meant that the Austrian capital boasted many fine wind players, which is reflected not only in Mozart’s wind serenades but also in the scoring of his piano concertos. All this woodwind activity is reflected in Mozart’s striking technical skill in writing for winds, where he knows to perfection exactly how each instrument lies.

This Quintet has distinction of being on first page of Mozart’s Catalogue of all my Works that he began in February 1784, along with the four Piano Concertos K449, 450, 451 & 453. Each entry is numbered with a title, date, orchestration and the first two or three bars of music.

The majestic Largo that opens the work immediately presents all the wind instrument both individually and as tutti. Within his unusual group of instruments Mozart uses every opportunity to explore the differences in sonority and to create his glorious kaleidoscope of effects. The main Allegro is in the usual form of exposition, development and recapitulation, but the interest is primarily in the extraordinary way in which the instruments are both given their individual solo spots and combined with the other. The Larghetto achieves a form of such jewelled perfection that we can instantly understand Mozart’s pride in his creation, each instrument including the piano is given absolutely equal status. The final Rondo is more reminiscent of the piano concertos with the novelty that all five instruments get their cadenza - entering one by one, oboe, clarinet, horn, bassoon and the piano - thus confirming their collective status as soloists. 

FULL DETAILS SEARCH FOR MORE

Quintet for Oboe, Clarinet, Horn, Bassoon and Piano in E-Flat K.452

Composer: Wolfgang Mozart (b. 1756 - d. 1791)
Performance date: Wednesday 4th July 2012
Venue: Bantry House Library, Bantry, Co. Cork, Ireland,

Share on Twitter | Share on Facebook
http://archive.westcorkmusic.ie/details/view/cmf/165

Composer Wolfgang Mozart (b. 1756 - d. 1791)
Work Title Quintet for Oboe, Clarinet, Horn, Bassoon and Piano in E-Flat K.452
Composition Year 1784
Work Movements 1. Largo - Allegro moderato
2. Larghetto
3. Rondo - Allegro
Artist(s) Julius Drake [piano], Hervé Joulain [horn], Peter Whelan [bassoon], Christoffer Sundqvist [clarinet], Ivan Podyomov [oboe]
Performance Date Wednesday 4th July 2012
Performance Venue Bantry House Library, Bantry, Co. Cork, Ireland,
Event Main Evening Concert
Duration 00:25:14
Recording Engineer Anton Timoney, RTÉ lyric fm
Instrumentation Category Piano Quartet/Piano Quintet
Instrumentation ob, cl, bn, hn, pf
Programme Note Writer © Francis Humphrys

This Quintet is one of the most joyous works of music ever penned. Mozart himself, writing two months after its composition, described it as the best thing I have ever written in my life. In the spring of 1784 Mozart was riding an incredible high of popularity. Taking part in twenty-two concert appearances in the space of a month many of them devoted to new works, such as the two wonderful piano concertos K450 & K451. The subscribers to his concerts were the cream of Viennese society and Mozart in his triple role as impresario, performer and composer was over the moon. But we must always remember the fickleness of the Viennese for only five years later Baron von Swieten was the only subscriber to Mozart’s proposed concert series in 1789.

One of the fashionable developments of the 1780’s had been the Harmonie or wind-band, often sextets or octets, which were hired to provide rich households with so-called Tafelmusik, just as in the last Act of Don Giovanni. The music for these occasions was often arrangements of popular opera melodies and, naturally, it meant that the Austrian capital boasted many fine wind players, which is reflected not only in Mozart’s wind serenades but also in the scoring of his piano concertos. All this woodwind activity is reflected in Mozart’s striking technical skill in writing for winds, where he knows to perfection exactly how each instrument lies.

This Quintet has distinction of being on first page of Mozart’s Catalogue of all my Works that he began in February 1784, along with the four Piano Concertos K449, 450, 451 & 453. Each entry is numbered with a title, date, orchestration and the first two or three bars of music.

The majestic Largo that opens the work immediately presents all the wind instrument both individually and as tutti. Within his unusual group of instruments Mozart uses every opportunity to explore the differences in sonority and to create his glorious kaleidoscope of effects. The main Allegro is in the usual form of exposition, development and recapitulation, but the interest is primarily in the extraordinary way in which the instruments are both given their individual solo spots and combined with the other. The Larghetto achieves a form of such jewelled perfection that we can instantly understand Mozart’s pride in his creation, each instrument including the piano is given absolutely equal status. The final Rondo is more reminiscent of the piano concertos with the novelty that all five instruments get their cadenza - entering one by one, oboe, clarinet, horn, bassoon and the piano - thus confirming their collective status as soloists.