WOLFGANG AMADEUS MOZART MOZART
MOZARTWOLFGANG AMADEUS MOZART (1756-91)SOMMCD 268-2PIANO CONCERTOS Nos. 20, K466 & 21, K467Valerie Tryon piano, Royal Philharmonic Orchestra, Jac van Steen conductorFANTASIA IN C MINOR, K396, Valerie Tryon pianoPIANO CONCERTO No. 10 for TWO PIANOS, K365Valerie Tryon, Peter Donohoe pianosPIANO CONCERTO No. 7 for THREE PIANOS, K242Peter Donohoe, Valerie Tryon, Mishka Rushdie Momen pianosRoyal Philharmonic Orchestra, Boris Brott conductorSONATA for TWO PIANOS, K448Valerie Tryon, Peter Donohoe pianosCD 1Piano Concerto No.20 in D minor, K466 [34:19]1 I. Allegro15:322 II. Romance9:403 III. Allegro assai9:07CD2Piano Concerto No.10 in E flat for Two Pianos, K365 [24:49]1 I. Allegro 10:262 II. Andante 6:563 III. Allegro 7:27Piano Concerto No.21 in C, K4674 I. Allegro maestoso5 II. Andante6 III. Allegro vivace assai[31:29]16:556:437:51Sonata for Two Pianos in D, K448 [23:57]4 I. Allegro con spirito 8:095 II. Andante 9:136 III. Allegro molto 6:357 Fantasia in C minor, K396 – Adagio 11:15Piano Concerto No.7 in F for Three Pianos, K242 [23:33]7 I. Allegro 9:088 II . Adagio 8:079 III. Rondeau – Tempo di Menuetto 6:18Total duration: 72:21Total duration: 77:03DDDDesign: Andrew GilesRecorded at Cadogan Hall, LondonCD1: January 30-31, 2017 Producer: Siva Oke Engineer: Ben ConnellanCD2: June 12-13, 2017Producer: Jeremy Hayes Engineer: Ben ConnellanFront cover: Mozart Family (detail), Johann Nepomuk della Croce (1736-1819), Salzburg /De Agostini Picture Library / Bridgeman Images Booklet Editor: Michael Quinn & 2018 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLANDMade in the EUPIANO CONCERTOSNos.20, K466 & 21, K467Valerie Tryon pianoPIANO CONCERTOSfor TWO PIANOS, K365Valerie Tryon, Peter Donohoe pianosfor THREE PIANOS, K242Peter Donohoe, Valerie Tryon,Mishka Rushdie Momen pianosPIANO SONATAfor TWO PIANOS, K448Valerie Tryon, Peter Donohoe pianosRoyal Philharmonic OrchestaJac van Steen, Boris Brott conductors
TTaken together, they illustrate theevolution of his understanding ofthe piano’s capabilities, his intuitivedevelopment of the concerto beyond itsclassical constraints and into its definingform, and his seemingly inexhaustiblecapacity for invention.its original incarnation demonstratesa sympathetic appreciation of theabilities of its intended recipients.While two of the piano lines can claimto be moderately difficult, the third,presumably for the younger child, isdiscernibly less taxing. Even so, themusic makes more demands of itsplayers than it offers concessions,the intricate interlacing of thethree piano voices in the openingAllegroproducingconversationalcounterpoint of particular richness.Its discretely dazzling complexitysimultaneously exploits and validatesthe use of the three conjoined voices tocreate effects far beyond the capabilitiesof a single instrument.The earliest work here is the PianoConcerto No. 7 in F, K242. One of threepiano concertos completed in 1776,it was commissioned by the CountessAntonia Lodron (whose surname oftenserves as its title) to be played by herand her two daughters. More familiarlyknown in a later two-piano version,Equally, while an effervescent galantstyle gloss provides pleasing balleticpoise and forward propulsion of refinedelegance, there’s a bubbling, drivingvigour to the writing that cleverly servesto disguise the contrasting demandsit makes on each of the individuallines. The middle-movement Adagiohe half-dozen works for permutationsof one, two and three pianos heardon this disc span the decade from1775 – when Mozart was desperate toleave his poorly paid position in the courtof Hieronymous Colloredo, the PrinceArchbishop of Salzburg – to 1785. By thenhe was well into his creative maturity andenjoying unprecedented (if soon to bediminished) commercial success.2to in the rich contrasts and technicalchallenges of a work whose difficultyand ambition also serve as auguries ofaccomplishments still to come.is replete with lyrical Mozartian grace,the concluding Rondo notable for themischievous coup de théâtre at its end: afaux-coda immediately followed by theactual punctuation mark that has beencheekily signalled in advance.Conceived as a dialogue between thetwo solo instruments, its sense of sharedbonhomie – marked by a high-spiritedegging-on towards greater excess andexpressiveness – seems to conjure thesibling rivalry of two capable pianistsgiven permission to out-do the other.In all respects wholly supportive, theorchestral accompaniment participatesin the play-making, entering into theexuberant flights of fancy with gamefulcomplicity and utter discretion.The exact date of composition ofthe Piano Concerto No. 10 in E-flat,K365/316a for two pianos, is contested.While cadenza scores for the first andthird movements suggest they werecomposed in the period betweenAugust 1775 and January 1777 (theevidence resting on an examination ofthe paper stock used by Mozart), recentresearch by the scholars Alan Tysonand Stephan D Lindeman point moreconfidently to 1779.Despite the combative nature of thepianos, the concerto is nothing if notdemocratic. After an extended Allegro inwhich the orchestra introduces the maintheme, the pianos enter together, asserttheir individuality and then join again topropel the movement forward. A similarrelationship defines the more meditativemiddle Andante movement, in effectOne (probable) certainty is that it wascomposed with Mozart’s elder sister,Maria Anna (‘Nannerl’), in mind as hisintended companion at the keyboard.Both siblings – Mozart was 23 at thetime, Nannerl five years older – wereaccomplished pianists, a fact testified3
of embraces with the other, bothpirouetting together in quiet rapturewith the utmost delicacy.a graceful pas de deux for the two soloinstruments. The finale is a rousing Rondothat matches rhythmic energy withathletic lyrical elegance.When the pair gave the first performancein late 1781 in Auernhammer’s home,it’s a measure of Mozart’s newfoundregard for his pupil that he assignedthe leading piano role to her. A nominalcompliment, perhaps, given theshared, ebullient prominence of bothinstruments, the opening Allegro conspirito setting the tone for much of whatis to follow. The movement is marked,too, by a quicksilver wit in which eachpiano line seems to dare the other toever-greater flamboyance.Composed in 1781 for a performanceby Mozart and his pupil Josepha vonAuernhammer, the Sonata for TwoPianos in D, K448 returned to the galantstyle of the Seventh Piano Concerto fiveyears earlier. Although Auernhammer wasbesotted with her teacher, it remaineda love unrequited, Mozart disparaginglywriting to his father, Leopold: “She is as fatas a peasant wench, perspires so much youfeel like vomiting, and walks about in suchskimpy attire that you can read as clear asday ‘Please look here’ ”.The lyrical, lullaby-accented Andanteoffers, if nothing else, an opportunityfor both pianos to catch their breath.Except in its limpid mellifluousness it alsoprovides a filigree-delicate poetic ballastto the earlier exuberance while inking inthe ever-encroaching sense of intimacy– as if a shared secret is being whisperedaloud – between the two piano lines.ButAuernhammer’smusicianshipevidently won over the composer’sshallow disapproval, a later letter homenoting “The young lady plays withcharm”. That quality is to the fore ina sonata distinguished by the oftenblissful intimacies entwining the twopiano lines, each locked in the tenderest4altogether idiomatic flights of darktoned fantasy. If, despite the cornucopiaof effects – slicing dissonances, chromaticembellishmentsandcorkscrewedharmonies left unfulfilled among them –it seems more texturally exposed in places(Stadler, after all, was not Mozart) in othersit beguiles with flourishes of colouristicagility and telling timbral agitation.The breezy, bright Molto allegro finale,an almost archly playful dance, carriesitself with manicured verve, pullingand pushing the focus between thetwo pianos in music of delightfullyingenuous resourcefulness.Although it bears an earlier cataloguenumber, the K396/K385f Fantasiain C minor was begun the year afterthe two-piano Sonata in 1782, whenit was originally conceived (but leftunfinished) for piano and violin. Twentyyears later it was completed in anextended arrangement for solo pianoby Maximilian Stadler, the composer andBenedictine monk who had served asadviser to Mozart’s widow, Constanze,since his death in 1791.Following his dismissal from his resentedand poorly-paid position at the courtof Salzburg’s Prince-Archbishop in May1781, Mozart escaped to the moreagreeably cosmopolitan Vienna. There,he was to severely test . Hoping the fashionablepiano concerto was sufficient to attractaudiences to a series of subscriptionconcerts he planned, over the next fiveyears he wrote 15 such works, many ofthem high-watermarks of the repertoire.In terms of scale, Stadler’s completionwas ambitious, extending the 27-baroriginal (in which the violin belatedlyentered at Bar 23) into a 70-barrealisation. But its execution managesto be both deferential and imaginative,spinning the single piano line intoThe ink was still drying on the score ofthe Piano Concerto No. 20 in D minor,K466 when Mozart himself gave the first5
underlined by their infusing the openingAllegro with an increasingly storm-tossedquality. No less provocative is the piano’sentrance. Refusing the initial theme, itsets off with wide, leaping intervals inpursuit of a markedly different agendato establish the testing, confrontationalrelationship – characterised by episodesof plosive enmity – between the piano’sfree-spirited bravado and the moreconventionally constrained orchestra thatwill dominate the rest of the movement.performance in Vienna on February 11,1785. One of only two piano concertoshe cast in a minor key (the other, No. 24in C minor, K491, in 1785-86), audiencesthat evening may well have been takenaback by its stark, dark-hued drama andboiling emotional turbulence. Those veryqualities later prompted Friedrich Blumeto assert that it was a transformativemoment for the concerto form; aparadigm shift from classical poise intothe more robust, questing and, above all,emotional attitude that would define theconcerto in the coming century.The middle-movement Romance beginsin more conciliatory fashion, the lyricalpiano line almost classically crisp andbright, the orchestra wholly, evensubmissively, supportive. With eachaccommodating the other in a delicatelytentative dialogue, the fragile rapport isshattered by an excitable presto G minorinterlude – memorably described byMozart’s father as “the noisy part withthe fast triplets”. It’s merely the mostconspicuous element in a movementthat ranges imaginatively through thefull resources of the piano with theNo less a figure than Beethoven, newlyemerging as the prophet of musicalromanticism, was greatly enamouredof the work, playing it at a memorialconcert in 1795 for which he composedin the absence of Mozart’s own (or morelikely improvised and later wrote down)the cadenza heard here.The shock of the new is felt immediatelyin the agitated ebbing of unsettlingly lowlying, syncopated strings. The unease is6to be sent home smiling and satisfiedrather than shaken and stirred.especially sophisticated and challengingwriting for the left hand suggestingMozart’s own prowess at the keyboardmust have been formidable.The ploy seems to have worked. The dayafter the performance, an approvingJoseph Haydn famously told a gratifiedLeopold Mozart: “Your son is thegreatest composer whom I know inperson or by reputation”.The opening of the Rondo finale impliesa meeting of minds has occurredsomewhere along the way. Its originis disguised by a now battling, nowbrotherly relationship between pianoand orchestra that edges ever closerwithout ever achieving shared intimacy.Increasingly chromatic writing seemsto dredge darker, more dangerousundercurrents closer to the unresolvedtensions on the surface before thecadenza clears the air and unites thesparring protagonists.Completed less than four weeks lateron March 9, the Piano Concerto No. 21in C, K467 offered eloquent testimonyto Haydn’s accolade. Providing muchneeded balm to the tumult and tensionthat went before, it must have seemedlike a burst of warming sun. As lithe andliquid as its sibling was taut and tense,at its heart is an Andante of meltinglyricism. In more recent years, its liberaluse on the soundtrack of a 1967 film bySwedish director Bo Widerberg gave theconcerto a new popularity and a belatedsubtitle, Elvira Madigan. Its profile wasfurther raised by American pop star NeilDiamond’s borrowing from it for his 1972chart hit, Song Sung Blue.We are left with what Alfred Einsteindescribed as “a coda of enchantingsweetness” in which previous enmitiesare banished by a sunny, shared melodyin the parallel key of D major. A morelikely explanation for the sudden volteface is Mozart’s shrewd recognition thatVienna’s audiences expected (and paid)7
suppressed rage to baleful pathos alonga gravity-defying arc in which the pianoseems suspended above a cossettingorchestral accompaniment.Cast as a light-hearted sonata-rondo,the Allegro vivace assai finale banishesall thoughts of melancholy in a brisk,often rapturous helter-skelter ofmutual conviviality between piano andorchestra – each alert to the other, bothenthusiastic participants. Fittingly, it callsto mind the forgive-and-forget endingsof Le nozze di Figaro and Così fan tuttea year and five years hence to conjurethose most defining of Mozartian traits:forgiveness and joy.Michael Quinn 2018The porcelain-delicate melody thathaunts (as much as it scents) theintrospective poise of the Andantemiddle movement can claim to be oneof Mozart’s most sublime creations.Masquerading as a recitative withoutwords, it traverses a remarkable rangeof emotions, from sweet innocence and8Valerie Tryon CMPhotograph: Bob HatcherThe concerto’s melodic directness, itsguileless wit and the balletic interactionbetween piano and orchestra disguisesa technical accomplishment thatis daringly symphonic in scale andoperatic in density. Certainly, there’sa sense of cinematic breadth to theAllegro maestoso first movement thatis immediately established by a marchlike motif in the orchestra. Its subduedbrio is picked up by the piano and spuninto ravishing trills on the right handthat ripple throughout the remainderof the movement with characteristicallymercurial, Mozartian glee. The expressivecadenza included here (and that in thethird movement) was composed by thepianist Dinu Lipatti.Valerie Tryon is a world-renowned concertpianist. Born in England, the youngeststudent to be admitted to the RoyalAcademy of Music in London, she stilltravels to Europe annually to perform,and manages an extraordinary schedule,in North America and abroad, of recitals,master classes and teaching.Valerie’s repertoire is vast and diverseand although her particular reputation isfor her interpretation of the Romantics –Chopin, Liszt, Rachmaninov and others,she retains a lifelong and enduringpassion for Debussy and Ravel, initiatedby her prize-winning scholarship toParis as a young student, to study withthe distinguished French professor,Jacques Fevrier.Royal Academy of Music, Juno Award winner,a Gallery of Distinction Inductee, holds theHarriet Cohen Award for DistinguishedServices to Music, and the Franz Liszt Medal,from the Hungarian Ministry of Culture, forher lifelong commitment to and promotionof Liszt’s music. In December of 2017 shewas awarded Canada’s highest honour, TheOrder of Canada.Retiring with an honorary doctorate fromMcMaster University, where she was Artistin Residence and Associate Professor formany years, Valerie continues as Artistin -Residence and teacher at RedeemerUniversity in between her many concerts andrecitals worldwide. She is a Fellow of theValerie has made innumerable albumsfor many recording companies overthe years, some of which are nowregarded as collector’s items. The mostrecent series of discs are from SommRecordings, and include de Falla’s Nightsin the Gardens of Spain, Cesar Franck’s9
Valerie’s Archives to date reside atMcMaster University in Hamilton, Ontario,where she has made her home since 1971.Peter Donohoeundertaken a UK tour with the RussianState Philharmonic Orchestra, as well asgiving concerts in many South Americanand European countries, China, HongKong, South Korea, Russia and USA. Otherengagements include performances of allthree MacMillian piano concertos withthe BBC Scottish Symphony Orchestra,a series of concerts for the Ravel andRachmaninov Festival at Bridgewater Hall,and numerous performances with TheOrchestra of the Swan.Peter Donohoe was born in Manchesterin 1953. He studied at Chetham’s Schoolof Music for seven years, graduated inmusic at Leeds University, and went onto study at the Royal Northern Collegeof Music with Derek Wyndham andthen in Paris with Olivier Messiaen andYvonne Loriod. He is acclaimed as oneof the foremost pianists of our time forhis musicianship, stylistic versatility andcommanding technique.Donohoe is also in high demand as a jurymember for international competitions.He has recently served on the juries atthe International Tchaikovsky PianoCompetition in Moscow (2011 and2015), Busoni International Competitionin Bolzano, Italy (2012), the QueenElisabeth Competition in Brussels (2016),Georges Enescu Competition in BucharestIn recent seasons, Donohoe hasappeared with Dresden PhilharmonicOrchestra, BBC Philharmonic and ConcertOrchestra, Cape Town PhilharmonicOrchestra, St Petersburg Philharmonia, RTÉNational Symphony Orchestra, BelarusianState Symphony Orchestra and City ofBirmingham Symphony Orchestra. He has10(2016), Hong Kong International PianoCompetition (2016), and Ricardo ViñesInternational Competition in Lleida, Spain,along with many national competitionsboth within the UK and abroad.Photograph: Sussie Ahlburg‘Symphonic Variations’ released in 2013,the Rachmaninov Piano Concerto No. 1in 2014 and a Ravel/Debussy disc in 2015,all with the Royal Philharmonic Orchestra.Recent discs include a new recordingof Shostakovich’s Piano Concertos andSonatas with the Orchestra of the Swan,and a disc of Shostakovich’s 24 Preludes andFugues (both Signum Records), which wasdescribed as “thoughtful and poignant”byThe Guardian; a disc of Scriabin PianoSonatas (SOMM Records) which wascalled “magnificent” by The Sunday Times;a recording of Witold Maliszewski’s PianoConcerto in B flat minor with the RoyalScottish National Orchestra conductedby Martin Yates (Dutton Vocalion); andthree discs of Prokofiev piano sonatasfor SOMM Records, the third of whichwas released at the end of April 2016.The first Prokofiev disc was described byGramophone as “devastatingly effective”,declaring Donohoe to be “in his element”,and a review in Classical Notes identifiedDonohoe’s “remarkably sensitive approachto even the most virtuosic of repertoire”.His second Prokofiev disc was given 5 starsby BBC Music Magazine, and the thirddisc was highly praised by The Times,Birmingham Post and Jessica Duchen.Other recordings include Cyril Scott’sPiano Concerto with the BBC ConcertOrchestra and Martin Yates (DuttonVocalion) and Malcolm Arnold’s Fantasyon a Theme of John Field with the RoyalScottish National Orchestra and MartinYates (also Dutton), for which BBC MusicMagazine described him as an “excellentsoloist”, and Gramophone stated that it“compelled from start to finish”.11
Donohoe has worked with many of theworld’s greatest conductors: ChristophEschenbach, Neeme Järvi, Lorin Maazel,Kurt Masur, Andrew Davis and YevgenySvetlanov. More recently he has appearedas soloist with the next generation ofexcellent conductors: Gustavo Dudamel,Robin Ticciati and Daniel Harding.Peter Donohoe is an honorary doctorof music at seven UK universities, andwas awarded a CBE for services toclassical music in the 2010 New Year’sHonours List.Mishka Rushdie Momenand Drama and has also periodicallystudied with Richard Goode. She wasinvited by Sir András Schiff to give recitalsin Zurich Tonhalle, New York’s 92Y,Mishka Rushdie Momen, born in London1992, studied with Joan Havill and ImogenCooper at the Guildhall School of Music12Antwerp deSingel and several cities inGermany and Italy for his 2016-17 ‘BuildingBridges’ Series. A committed chambermusician whose partners have includedSteven Isserlis, Midori, Krzysztof Chorzelski,and members of the Endellion and OrionString Quartets, she played in the 2016Marlboro and Krzyzowa Music Festivals andparticipates in Open Chamber Music at theInternational Musicians Seminar in PrussiaCove, Cornwall. She has been invited toplay in the ‘Chamber Music Connects theWorld’ Festival in Kronberg this year in May.Photograph: Benjamin Ealoveganumerous recitals internationally andcontinues working with his long standingduo partner Martin Roscoe, as well as morerecent collaborations with artists such asRaphael Wallfisch, Elizabeth Watts andNoriko Ogawa.Donohoe has performed with all themajor London orchestras, as well asorchestras from across the world:the Royal Concertgebouw, LeipzigGewandhaus,MunichPhilharmonic,Swedish Radio, Orchestre Philharmoniquede Radio France, Vienna Symphony andCzech Philharmonic Orchestras. He has alsoplayed with the Berliner Philharmonikerin Sir Simon Rattle’s opening concertsas Music Director. He made his twentysecond appearance at the BBC Proms in2012 and has appeared at many otherfestivals including six consecutive visits tothe Edinburgh Festival, La Roque d’Anthéronin France, and at the Ruhr and SchleswigHolstein Festivals in Germany. In the UnitedStates, his appearances have included theLos Angeles Philharmonic, Boston, Chicago,Pittsburgh, Cleveland and Detroit SymphonyOrchestras. Peter Donohoe also performsIn November 2014 Mishka RushdieMomen was unanimously voted the FirstPrize-winner of the Dudley InternationalPiano Competition and performedBartók’s Third Concerto with the Cityof Birmingham Symphony Orchestraconducted by Michael Seal at SymphonyHall, Birmingham. In September the sameyear she won Second Prize at the CologneInternational Piano Competition. She wasawarded the Prix Maurice Ravel at the 2013Académie Ravel in St. Jean-de-Luz, Franceand gave three concerts at the RavelFestival the following Spring. At the ageof 13, she won First Prize in the LeschetizkyConcerto Competition, New York.Mishka has given solo recitals at theBarbican Hall, the Bridgewater Hall, TheVenue, Leeds, St. David’s Hall, Cardiff andin the Harrogate, Cambridge SummerMusic and Chipping Campden Festivals.Her concert experience includes mostmajor London venues including the QEH,RFH, Purcell Room, Wigmore Hall, andabroad in New York, France, Germany,Prague and Mumbai.13
of his work with various orchestras (onDabringhaus & Grimm, SOMM, BridgeRecords, NMC).In addition to conducting the finestDutch, German and UK orchestras,he is dedicated to teaching and isProfessor of Conducting at the RoyalConservatory of Music in The Hague,where he has recently developed hisbrainchild: the National Masters forOrchestral Conducting (NMO) which willgive young Master student conductorsthe chance to work with the best DutchOrchestras. He also works regularly withthe Royal Northern College of Music andChetham’s School of Music (Manchester)as well as the Royal Academy and RoyalCollege of Music (London) and the City ofBirmingham Youth Orchestra.Jac van Steen has participated in manyrecordings for the BBC, as well as livebroadcasts of his concerts. There are asubstantial number of CD recordings14Boris BrottPhotograph: Bob HatcherPhotograph: Simon WeirJac van SteenJac van Steen was born in The Netherlandsand studied orchestral and choralconducting at the Brabants Conservatoryof Music. Since participating, in 1985, in theBBC Conductors’ Seminar led by Sir EdwardDownes, he has enjoyed a very busy careeras conductor of the best orchestras inThe Netherlands, the United Kingdom,Switzerland and Germany. These haveincluded the posts of Music Director andChief Conductor of the National Ballet ofThe Netherlands, the orchestras of Bochumand Nürenberg, the Staatskapelle, Weimar,the Opera and Philharmonic Orchestra ofDortmund (Germany), MusikkollegiumWinterthur (Switzerland) and the post ofPrincipal Guest Conductor for several yearsat the BBC National Orchestra of Walesand from 2013-14, the Prague SymphonyOrchestra. In 2014-15 he assumed theposition of Principal Guest Conductor ofthe Ulster Orchestra, Belfast.Boris Brott is one of the mostinternationally recognized Canadianconductors. He enjoys a world-widecareer as guest conductor, educator,motivational speaker and culturalambassador. He has served as AssistantConductor of the New York Philharmonicunder Leonard Bernstein and as MusicDirector of the BBC National Orchestraof Wales, Northern Sinfonia, RoyalBallet Covent Garden, seven CanadianOrchestras and Principal Guest Conductorof Teatro Petruzzelli in Bari, Italy.professional musicians and orchestra-inresidence of the Brott Festival, the largestmusic festival in Canada.Currently, Maestro Brott is Artistic Directorof the McGill Chamber Orchestra inMontreal, Quebec and The Brott MusicFestival in Hamilton, Ontario, as well asFounding Music Director and ConductorLaureate of the New West Symphonyin Los Angeles, California. His lifetimecommitment to the education of youngmusicians led in 1988 to his founding of theNational Academy Orchestra of Canada.The NAO is a unique ly decorated, Boris Brott holds,amongotherawards,HonoraryDoctorates from both McMaster andMcGill Universities. He is a Fellow of theRoyal Society of Arts of Great Britain andhas received the Order of Canada, Orderof Ontario and Order of Quebec.His many recordings include those forSony (with the late Glenn Gould), CBC andMace USA.15
the paper stock used by Mozart), recent research by the scholars Alan Tyson and Stephan D Lindeman point more confidently to 1779. One (probable) certainty is that it was composed with Mozart’s elder sister, Maria Anna (‘Nannerl’), in mind as
Wolfgang Amadeus Mozart (1756-1791) complete sonatas for keyboard and violin voluMe 6 W.A. Mozart complete sonatas for keyboard and violin 6 volume channel classics CCS SA 26208 Gary Cooper fortepiano Rachel Podger violin Sonata in F major, Kv376 (374d) 1 Allegro 7.20 2 Andante 5.31 3 Rondeau: Allegrett
1783 Mozart Rondo alla Turca 1 Wolfgang Amadeus Mozart: Rondo alla Turca - YouTube 1785 Mozart Ah! Vour dirais-je, Maman 1 Mozart - Twinkle Twinkle Little Star (12 variations on Ah vous dirai-je, Maman) - YouTube 1786 Mozart 3rd movement from Horn Concerto No.4 6 BBC Ten Pieces ABRSM Classical 100 1788 Mozart 1st Movement from Symphony
WOLFGANG AMADEUS MOZART 1756–1791 Piano Concerto No.17 in G major, K453 sol majeur · G-Dur 1 I Allegro 12.45 2 II Andante 11.30 3 III Allegretto — Finale: Presto 8.31 cadenzas: Mozart Piano Concerto No.25 in C major, K503 ut majeur · C-Dur 4 I Allegro maestoso 16.39 5 II Andante 8.2
Airlines in Amadeus: function levels GG PCALFUN . Information about Amadeus input and output codes GG CODE . Amadeus Quick Reference Guide March 2009 8 Edition 9.1 . Amadeus Quick Reference Guide March 2009 14 Edit
Sonata in C minor, K. 457 Wolfgang Amadeus Mozart Fantasia in C minor, K. 475 Wolfgang Amadeus Mozart Scherzo Sergei Prokofiev Le Tombeau de Couperin Maurice Ravel Prelude in C# minor Sergei Rachmaninoff Sonata #2 in
"Don Giovanni" /Ma se colpa io non ho-Batti, batti o bel Masetto/ - Wolfgang Amadeus Mozart – the opera "Don Giovanni" Fiordiligi - scene from the opera "Cosi fan tutte" /Temerari!-Come scoglio/ - Wolfgang Amadeus Mozart – Queen of the Night - aria from the opera di Siviglia "Die Zaubefloete" /O zittre nicht, mein lieber Sohn!/
Piano concerto no. 21, K. 467 (2nd mvt) Wolfgang Amadeus Mozart (1756-1791) arr.: Guy Bergeron Score. 21 21 4 . 23 28 34 rit. a tempo 3 3 5 39 43 3 3 3 3 . (2nd mvt) Wolfgang Amadeus Mozart (1756-1791) arr.: Guy Bergeron Guitar. 33
a mournful sequence, or long poem, by Thomas of Celano of the 13th century. An Offertorium is added, followed by the Sanctus, Benedictus, and Agnus Dei. The Mass closes with a Communio. The history of the composition of Wolfgang Amadeus Mozart's (1756-1791) Requiem has been the subject of much conjecture and scholarly debate.
