Mozart / Divertimento in E-flat major, K. 113

[@mspg2]

a true gem by the genius

[@高村毅-j3s]

嬉しいのは、このチャンネルの解説欄が丁寧で親切なので、興味がより湧くところにある。

[@hussainsaibo9692]

Alhamdolillah ! God be Praised ! for Mozart. It is a jewel.

[@MiguelantonioCortes-ol1dj]

Musica de mosart no parece de este mundo ni pareciera para este mundo tan extrañamente maravillosa

[@drorgolan7121]

Omg I wasn't expecting it to be so gooddddddd😍😍😍😍🙏🏻🙏🏻🙏🏻

[@davidmessenger5277]

❤❤🎉🎉🎉

[@stephenclark7932]

The first clarinetist, PETER SIMENAUER (1931-2013), was my clarinet teacher in Manhattan from 1972 thru 1975, while I was a clarinetist in the West Point Band. At the age of 19, Peter became the 2nd clarinetist of the newly-formed Israel Philharmonic (playing alongside YONA ETTLINGER from 1950 to 1960). In 1960, MAESTRO LEONARD BERNSTEIN hired Peter to become the new associate principal clarinetist/E-flat clarinetist for the New York Philharmonic -- a position Peter held from 1960 thru 1998, until he was severely stricken with Parkinson's disease, which necessitated his retirement from the Philharmonic.

[@snowcarriagechengcheng-hun3454]

Thanks for uploading!

[@donaldgoodell7675]

Written as 'Concerto ossia Divertimento a 8' as a title at the top of the page in Leopold Mozart's handwriting, though the music of then piece was was written throughout in young Mozart's own evolving handwriting dated November 1771 in Milano; apparently for a soiree held in-between completion and rehearsals of Mozart's 2nd Opera for Milano, entitled Ascanio in Alba which, as his proud father wrote home to his wife and daughter Nannerl 'completely killed Ruggiero, Hasse's valedictory opera.' The writing is confident, inventive, elegantly-refined, and beautifully composed throughout with some beautiful cantilena effects in the part-writing, showing that by page 15, Mozart was already an consummate master of his musical craft---but then again, we are talking about the great Mozart. He wrote that where he and his father were staying in Milan, there was a violinist upstairs, an oboist down the hall and an opera singer next door--'which is great for finding themes--it gives me plenty of musical ideas !' --one can spot the influence of hearing her singing-exercises in the first movements scalar-runs hip and down and some of the 'vocal skips' in the exposition especially. I prefer it played by more than 8 players; something like 24 instrumentals brings out some of the more subtle contours of this amazing party-piece.

[@beethovenlove9680]

この曲めっちゃ好きです！やっぱりモーツァルトは最高にいいね♡

[@lehmannudo7284]

There was an older recording now on cd by emi with Bernhard paumgartner and Salzburg orchestra for me with more feeling as here!

[@MiguelantonioCortes-ol1dj]

Cuanto aprecio estas musicas

[@josefranciscogomezuribe4279]

GRACIAS POR EL DELEITE DE LA GRAN MÚSICA.

[@drorgolan7121]

‏‪0:37‬‏

[@jslagowski]

Some very nice playing! With this early divertimento, it is probably OK that Mozart needed to do a little bit of tinkering with the instrumentation and balance! (I'm not sure of the context of the initial performance...so maybe the instrumentation for which it was written was constrained...) I think this performance would have been greatly improved by the addition of 2 bassoons to reinforce the bassline and round out the winds. Let's not be afraid to do things like this...even though it's Mozart

[@Hotspur77]

Indeed - I would MUCH rather hear this some added weight in the lower strings (or bassoon, for that matter) - at least they skipped the harpsichord (regardless of how "appropriate" Robert Levin thinks it is). Many a fine Mozart performance has been ruined with that baroque artifact. Nothing against the NY Philomusica, a somewhat rag-tag outfit whose vigorous advocacy of Mozart back in the '70's and '80's was indisputable, but there are better readings than this rather thin, sour effort. Both Marriner/ASMIF and Vegh/Salzburg Chamber Orchestra have done more justice to this youthful masterpiece. And happily, K.113 has been recorded by even large forces, and brilliantly so: Joseph Keilbarth and the Bambergers (along with K.131, K.286, and K.525). Unhappily, the recording is out of print and rarer than hens teeth. Too bad Karajan or Bohm didn't have a crack at it.

[@Jordi_Ventura]

Great music all the time, even though specially the first half aprroximately (from 0:01 & from 4:06).

[@mitra2028]

The Allegro is perfect. But I feel like it need something more to make it more lively 🤔

[@loloideasmr995]

Rococo party

[@クリスパ王子]

10:32 自分用

[@tuliovalente1]

28 225333 Abr 2014 Seg.