Mozart / Divertimento in B-flat major, K. 186 скачать в хорошем качестве

Mozart / Divertimento in B-flat major, K. 186

Wolfgang Amadeus Mozart (1756-1791) Divertimento for wind ensemble in B flat major, K. 186/159b (1773) 00:00 - Allegro assai 01:38 - Menuetto & Trio 03:58 - Andante 06:30 - Adagio 10:11 - Allegro Members of the New York Philomusica (1979) Oboes: Stephen Taylor & Randall Ellis English horns: Virginia Brewer & Samson Giat Clarinets: Peter Simenauer & Joseph Rabbai Horns: Robert Johnson & David Jolley Bassoons: Leonard Hindell & Richard Vrotney "In 1773 Mozart wrote two divertimenti for ten winds -- the standard 'Harmonie' of pairs of oboes, clarinets, horn, and bassoons with the addition of two English horns. It is a pity he never returned to this combination later in his life, for it is most pleasing in sonority. The clarinets, which later became Mozart's clear favorites in the wind band, are here displaced by the quartet of oboes that produces a timbre of great mellowness, both by the contrast of alternating passages for oboes and English horns and by the euphony produced when the oboes double in the English horns an octave higher. (The subordinate role of the clarinets is further demonstrated in the trios of the minuets, where they are omitted altogether.) The first of the two works, K. 186 in B-flat major, is remarkable for its brevity and thematic neutrality. In fact, it is amazing that the work is so attractive with repeated hearings, given the prevalence of chugging accompaniment sections in which no melody at all appears above the garrulous succession of harmonies. All five movements are in the key of B-flat. The unison salvo that opens the 3/4 Allegro assai unexpectedly reappears at the end, tantalizing the listener into imagining that the first movement is about to rebegin. Brief touches of lyricism occasionally remind us of the more serious, profound musician: the imitation passage in the second half of the minuet, and the theme of the Andante, evocative of 'Die Entführung aus dem Serail'. The rondo finale that closes the work is the only full-length movement. The second part of its refrain also appears in the fifth of the Six Contredanses, K. 462. Here the subordination of the clarinets is complete: solo passages are shared by the oboes, English horns, and horns. The boisterous extension of the final cadence gives a suitable ending to one of Mozart's most high-spirited works." - Robert D. Levin Painting: The Ball, William Hogarth