Friday, June 18, 2010

Mozart: Rhapsody and Reverie

I. Rhapsody

Musicologist Arthur Hutchings on the Mozartian rhapsody:
. . . the form is "a becoming." In it we may be aware of phrases, of sequences which show metabolism. . . but the main principle of its form is the approach to and decline from climax. . . we imagine ourselves to be the performer; if we do not live along its line, we are not fulfilling the composer's demands of us. [Hutchings, 139.]

Piano Concerto No. 21, KV.467 - Andante

II. Reverie

Musicologist Cuthbert Girdlestone on the Mozartian "Dream Reverie:"
The true "dream" does not imply any strong emotion; it does not exude passion, but the exquisite fancy of a fresh and rich nature is its character. When melancholy speaks it is not with a tragic voice. They are inspired by a spirit of fairyland, too far removed from reality to know sorrow. Their form is that of a long, winding melody which cannot be broken up into phrases and follows on almost uninterruptedly from one end to the other, and Mozart's rhythms are found here at their freest. [Girdlestone, 39.]

Piano Concerto No. 6, KV.238 - Andante

Violin Concerto No. 3, KV.216 - Adagio
Gidon Kremer, violin. Nikolaus Harnoncourt conducting the Wiener Philharmoniker

String Quartet in E-flat, KV.428 - Andante con moto
Salomon Quartet


Hutchings, Arthur. A Companion to Mozart's Piano Concertos. Oxford University Press. New York. 1948.

Girdlestone, Cuthbert. Mozart and his Piano Concertos. Dover Publications, Inc. New York, NY. 1964.

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