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MOZART (1756-1791) Serenade No. 10 in B-flat, KV361 "Gran Partita" I. Largo - Allegro Molto |
by Adrian Tan
These are
but some of the words that have been used to describe the Adagio
from this music. Music which has often been regarded as a masterpiece
for wind instruments, of the most refined sonority that has never been
equaled, nor is likely to be surpassed in all history.
My first
encounter with this music was through the movie Amadeus in the
scene where Salieri encounters the manuscript of Mozart's music at the
Archbishop's palace. Initially candid and even mocking, Shaffer's effective
description of the music turns into one of moving beauty and admiration
as it unravels in Salieri's mind:
The Serenade
was composed at a time when Mozart's career was taking a drastic turn.
He had decided to leave the service of the Archbishop of Salzburg, a post
that he called his "slavery", little knowing that he was from then on
destined to lead the life of a wandering freelance musician and eventually
to die a pauper. Yet, even if he did, the young, impetuous Mozart had
too much music to give to the world, and this was something no oppressive
monarch, courtier or patron could hamper.
He had at
this time set his mind on his greatest passion - composing for the stage.
He was in Munich on leave of absence in 1781 preparing Idomeneo
with the Bavarian Court Theatre in the hopes of obtaining the position
of royal court composer. This was a position he never got, but his stint
in Munich gave him the opportunity to renew his acquaintance with the
wind players of the court orchestra who were known for their strict discipline
and virtuosity. Listening to these musicians was all the inspiration needed
for Mozart to create a piece for an ensemble of wind instruments that
would redefine the standards of the repertoire.
Only talented
performers can obtain a truly relaxed and beautiful tone on these, and
this is no small feat. In addition to this is the French Horn, a sound
that bears no similarity with the reed instruments. Thus seen, the challenges
posed by this mixed bag of instruments account for the lack of repertoire
for wind quintets and other like ensembles until the 20th century. Nonetheless,
it would take a true master composer to see the true potential and to
turn the difficulties into merits.
The first
movement is an Allegro in sonata form prefaced by a short and stately
introduction (Largo). Mozart passes the theme from instrument to
instrument, allowing each unique colour to shine though momentarily before
another takes over. I think right up front, he declares his intention
by giving a short solo in the introduction to the oboe and clarinet, distilled
from the tutti of the larger ensemble so that we hear the individual personality
of each instrument. The second and fourth movements are minuets - both
have two trios, one of which is in a minor key. Here Mozart has good fun
with this oft-used dance form, stretching it to its limits.
Sandwiched
between these dances is the beautiful Adagio on which we have already
spent so many words. Listen to the moment when the solo clarinet takes
over the theme from the oboe. In some performances, the transition is
seamless, creating a magical effect of one sound transmuting into another.
The fifth movement is an extended Romanze in three sections. The
first and third are elegiac while the middle Allegretto section
is quirky and unsettling like a burlesque.
The final
movement is a set of variations on an Andante theme, returning
to the key of B-flat major. It is apparently a reworking of the Flute
Quartet in C major (K285b). The finale is a quick rondo of great charm
and wit, with the usual dose of Mozartian humour, to round up the piece
in a most rousing fashion.
Most performances
take a good 50 minutes so it is quite a lot of music to sit through. A
Serenade (or "evening song") serves as a piece of entertainment music
at an event (some scholars think Mozart used this piece for his own wedding);
but there is really a lot going on in this rather revolutionary piece
of entertainment that will reward the attentive listener.
Recommended
Recordings
Also available as part of the Complete Mozart Edition. The Academy
of St.Martins-in-the-Fields under the direction of Sir Neville Marriner
has a solid reputation in fine Mozart performance and it is no less true
in this case. It was this ensemble that provided the soundtrack to the
movie Amadeus and thus, upon seeing this recording of the shelf,
I had thought that this was the same recording. This was not the case,
but I was nonetheless not disappointed.
This rendition
is stylish, with brilliant and immaculately precise wind playing to match.
I'm sure few recordings of this music can rival the standards set by the
ASMF. Sir Neville Marriner's reading is refined, mannered and tasteful,
lending an aristocratic air to the music. In my mind, one of the best
amongst the comprehensive and highly regarded Mozart set(s) on the Philips
label, of which a large portion is contributed by the Academy.
For a more
sensitive and personal approach to the music, Sir Charles Mackerras and
the members of the Orchestra of St.Lukes's on Telarc is my choice. The
playing is not nearly as technically perfect as that of the ASMF but it
captures the more relaxed and emotive spirit of the music.
Taking that
Adagio as a gauge, this is the more moving take with the winds
sounding so much more full blooded. There is more spontaneity and a greater
sense of occasion probably as a result of the acoustics of the recording
venue as compared to the studio sound of the Philips release. The wind
players of St.Luke deliver an outstanding performance, impressing with
their more involvement in the music. Sir Charles Mackerras' reading is
warm and rich with sentimentality - also in my opinion, more tightly paced
allowing space for the Adagio and Romanze to really blossom
yet adding that extra momentum in the latter movements making all the
difference.
Other
recommendations include a mid-price Chandos release performed by the
Scottish National Orchestra Wind Ensemble under Paavo Jarvi (with a Divertimento
coupling - a bonus if you want to think of it that way), well worth the
price. There is one period recording of the work by Octophorus conducted
by Barthold Kuijken (on Accent) that I'm not familiar with but might be
of interest to those keen on authentic performances. The reocrding by
the Chamber Orchestra of Europe under Alexander Schneider that might be
worth exploring as well.
" a
Notturno... a scene from Romeo and Juliet, under starry skies,
a scene in which longing, grief and love are wrung like a distillation
from the beating hearts of the lovers."
"It
started simply enough: just a pulse in the lowest registers, bassoons
and basset horns - like a rusty squeezebox. It would have been comic except
for the slowness, which gave it a sort of serenity. And then suddenly,
high above it, sounded a single note of the oboe. It hung there unwavering
- piercing me though - till breath could hold it no longer and a clarinet
withdrew it out of me and sweetened it into a phrase of such delight it
had me trembling... dimly the stars shone on the empty street. I was suddenly
frightened. It seemed to me I had heard the voice of God."
I thought that that one scene summed up the whole movie. One composer staring
into the music of another, only to recognize its destined greatness and
his own mediocrity. And what better passage to use to represent divinity
than that soaring oboe line of the Adagio that never fails to bring
a tear to one's eye. This is a sound so pure and beautiful, that it has
to come from a man of immeasurable genius or from God himself.
The Serenade was certainly composed with no ordinary wind players
in mind. Individual parts do not demand startling technical virtuosity
but rigorous demands are made on the blending of colours and the creation
of textures between the wind instruments. Considering the instrumentation
(a pair of oboes, clarinets, basset horns, bassoons, four horns and a
bass), this would seem a challenging task to those acquainted with the
particular difficulties due to the individual characteristics of each
wind instrument. The single reed clarinet group can sound dark, bright
or warm (I can only generalize, the spectrum of the sound that can be
created clarinet family is amazing). The double reed instruments are incredibly
difficult to play as they are, making especially great demands on the
musicians' sense of pitch.
On CD, the Gran Partita is often uncoupled with any other work,
being almost an hour long on its own, unlike the other shorter serenades
and divertimenti. If you know the work and have heard performances of
it, you wouldn't hesitate to buy if you knew of a good recording. Otherwise,
it is understandably a tough decision. Anyway, for those of you who are
facing this dilemma, here are my two highest recommendations for your
reference:
Academy of
St. Martin-in-the-fields
Sir Neville Marriner conductor
Philips 446 227-2 (Best of Mozart Edition Vol.5) [48:57] mid-price.
Old issue 412 726-2
Members of
the Orchestra of St.Luke's
Sir Charles Mackerras conductor
TELARC CD-80359
[50:37] full-price
Adrian Tan is
proud that he did not queue for a "Hello Kitty" toy at McDonalds. .
.
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644: 24.1.2000.
up.28.10.2000 ©Adrian Tan
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