Mozart - Variations on "Je suis Lindor", K 354 (1778) {Ingrid Haebler}

Wolfgang Amadeus Mozart (27 January 1756 - 5 December 1791) was one of the most influential, popular and prolific composers of the classical period. A child prodigy, from an early age he began composing over 600 works, including some of the most famous pieces of symphonic, chamber, operatic, and choral music.
Variations (12) on "Je suis Lindor," for piano in E flat major, K. 354 (K. 299a) Paris, Summer 1778
Ingrid Haebler, piano
Description by Robert Cummings [-]
In 1778, Mozart's visit to France resulted in this E flat major set of keyboard variations, a work whose springboard was Antoine-Laurent Baudron's The Barber of Seville. It featured a sprightly number from which "Je suis Lindor" (I Am Lindor), the second couplet of the song, is drawn. Mozart's work is fairly substantial, if light, presenting a range of colorful variations in a piece that lasts well over 15 minutes. The Lindor theme is lively and chipper in its spirited elegance and jaunty playfulness. The first variation does not break from this mood in its busy sixteenth notes, although the ensuing variant is humorous and a bit gruff, by contrast, mainly owing to its running bass accompaniment. The third variation features a childlike innocence in the upper-register ornamentation, while the fourth exudes a slightly anxious manner, and the fifth a hearty, jovial character. The sixth variation maintains much the same kind of mood, but the ensuing variant is filled with color and dazzling writing. The eighth is grand and stately and even turns serious near the end. The ninth, however, is more serious, presenting a slow, dark version of theme with a few playful moments unable to overtake the long stretch of gloom. The tenth and 11th variations recover the sense of play and lightness, while the slow 12th reverts to a dreamy manner. A reprise of the theme closes out this delightful work.

[@joshuaharper372]

Why did we get variation 12 and the coda between 7 and 8, with the whole set finished with a recap of the theme? Are there several versions of these variations?

[@bartjebartmans]

This is how Haebler recorded it. I have further unfortunately no answers.

[@thomasskoronski8625]

There are two orderings, though why that is the case is a mystery to me. Breitkopf & Härtel have the ordering of the score shown here (as does my own Peters edition). The Neue Mozart Ausgabe, on the other hand, has them in the same order that Haebler plays them (as does my own Urtext). Normally, I would place most trust in the Neue Mozart Ausgabe but that order is certainly atypical of Mozart; he almost always puts the slow variation in the penultimate position and if there is a variation in a different time-signature, he usually puts it last. I would be happy to learn why these discrepancies exist.

[@bartjebartmans]

@Thomas Skoronski, thanks for looking into this.

[@bartjebartmans]

This will explain exactly what happened with the order of the variations. It is in German. dme.mozarteum.at/DME/nma/nma_cont.php?vsep=200&l=1&p1=43

[@dmitridmitrijevitsjsjostak3627]

@@bartjebartmans dank u, nu dat ik weet dat je Nederlands praat ga ik ook in het Nederlands terug reageren op een comment lol

[@adamsisler9687]

In summer of 1778 Mozart's unsuccessful journey to Paris was near it's end, and in July of that year is mother fell ill and died. I think this work was written near that event, the beauty and immensity of this work speaks to it. One of my favorites.

[@yoomin789]

Thena: 00:00 var1: 01:20 var2: 02:32 var3: 03:50 var4: 05:16 var5: 06:37 var6: 07:46 var7: 09:02 var8(minor): 11:57 var9: 13:42 var10: 14:23 var11: 15:06 var12: 10:24 A Tempo: 17:36

[@trysubscribe25]

Mozart always the best. Do anyone agree?

[@Enri45100]

Absolutely!

[@ilyasnm837]

The goat

[@williamdane4194]

Mozart astonishes and then tickles.

[@dmitridmitrijevitsjsjostak3627]

ok

[@petermerelis]

I completely agree. that playfulness belies the depth of the musical intuition. the best.

[@LPCLASSICAL]

This is supremely beautiful. I have been going through the variations pieces - it seems that his golden period was the K300s - some of his best sonatas come from this time as well.

[@mmbmbmbmb]

Robert Cummings Descriptions are almost as delightful as the music they describe. Thank you for providing it. They make your wonderful uploads, Bartje, a real adventure into Mozart's work ... and being. THANK you !!!

[@pghagen]

Amazing performance by Ingrid Haebler like always! Heard her perform all Mozarts pianoconcertos in the seventies in Haarlem Netherlands. She is one of the best Mozartplayers!

[@adelheidgeist6206]

Ja, stimmt wirklich !

[@elmiramuradova561]

Спасибо,это совершенно чудесное произведение ,непохожее на другие вариации. И исполнение по душе и сердцу. Браво,как всегда Ингрид. Думаю,что чем больше играть Моцарта,тем ближе к нему становишься,поэтому Ингрид звучит прекрасно. Thanks for Marvelous music and,as always marvelous performans by Ingrid! Love it.

[@jasonroberts6666]

So beautiful

[@orkunyasa3895]

Thx for sharing these songs otherwise i can not listen these songs

[@jesusdominguez_2004]

=)

[@TheMrCrez]

Download primephonic on your phone

[@philliphamilton3591]

Delightful.

[@e.de_Haan]

I recommend everyone listen to M. Clementi's "Lindor" variations. It is interesting to hear the contrast in styles and approaches to this theme. I do love W. Mozart's music but I personally prefer the M.C. variations.

[@jesusdominguez_2004]

Gracias en español 💬

[@asaadnaeem4121]

Wonderfull

[@theophilos0910]

The Right Honourable Daines Barrington visited the ‘House of the Hair Cutter’ around 2 in the afternoon c. 25 May 1765 at 180 Ebury Street, Belgravia in London to ‘test the Pow’rs of the little German Boy Wolfgang Mozart, age 9…’ which involv’d having M. sight-read music he had never seen before from compositions by Handel and Thomas Arne and others - some hand-written in several different vocal staves- & provide extempore improvisations at the harpsichord from his suggestions of themes and even ‘operatick Moods’ such as ‘a Song of Rage’ which ‘the little Boy after looking back at me with much Archness (= eyes squinted tight as if thinking of a musical subject) commenc’d immediately & without the slightest Hesitation and soon work’d himself into such a fever’d Pitch that he began pounding his Harpsichord as a Man posses’d (never wishing to lose the moment, his father Leopold later had his son write his improvisation out as K. 15p in g-minor in his thematic notebook later known as ‘The London Sketch Book’)…’when a Theme was given the little Boy, he would immediately add a Base which when perform’d had quite a Good Affect…and when ask’d to provide Variations on a given Melody, he would at once provide 3 then 4 then 6 then 8 Variations without the slightest Effort on his Part and would have happily given me Twenty more if ask’d not to stop…and if some of these Variations were not all amazingly Capital, they prov’d beyond any Doubt the little Boy’s miraculous Store of Musickal Ideas at the Ready…’ In this present 12 variations on a theme from Baudron’s Le Barbier de Seville (Sept 1778) ‘Je suis Lindor’ M. shews is the same kind of ‘thematic development at the ready’ which was probably written down immediately after a party or soirée where he was ask’d to improvise -which was the case with several other sets of musical variations from his oeuvre-what a longer list of these would we have to-day if only there were tape-recorders back in those days - we’d then have hundreds of them to enjoy to-day !!!

[@user-it9op5gi4v]

Kandungan video sangat baik, tahniah

[@Kriss1982-xv9qk]

4:22 thats so cute

[@user-dy7db5wq4q]

11:57

[@_Athanos]

True, quite Bachian but still perfect and charming like Mozart only could write

[@Kriss1982-xv9qk]

13:41 wtf

[@escopiliatese3623]

I never knew allegretto meant andante. It doesn’t.

[@ApplepieFTW]

It sounded slightly fast to my ears. Personal opinion, personal opinion.

[@someperson121]

I don't like his interpretation.