After Mozart
Eccentric 20thcentury perspectives on the Viennese Classical master
View record and artist detailsRecord and Artist Details
Composer or Director: Alexander Raskatov, Wolfgang Amadeus Mozart, Alfred Schnittke, Leopold Mozart, Valentin Silvestrov
Genre:
Orchestral
Label: Nonesuch
Magazine Review Date: 6/2002
Media Format: CD or Download
Media Runtime: 67
Mastering:
Stereo
DDD
Catalogue Number: 7559-79633-2
Tracks:
Composition | Artist Credit |
---|---|
5 Min. aus dem Leben von W.A.M. |
Alexander Raskatov, Composer
Alexander Raskatov, Composer Andrey Pushkarev, Percussion Gidon Kremer, Violin Kremerata Baltica |
Serenade No. 6, "Serenata notturna" |
Wolfgang Amadeus Mozart, Composer
Andrey Pushkarev, Percussion Danielis Rubinas, Double bass Eva Bindere, Violin Gidon Kremer, Violin Kremerata Baltica Ula Ulijona, Viola Wolfgang Amadeus Mozart, Composer |
(The) Messenger |
Valentin Silvestrov, Composer
Gidon Kremer, Violin Kremerata Baltica Naida Cole, Piano Valentin Silvestrov, Composer |
Serenade No. 13, "Eine kleine Nachtmusik" |
Wolfgang Amadeus Mozart, Composer
Danielis Rubinas, Double bass Eva Bindere, Violin Gidon Kremer, Violin Kremerata Baltica Marta Sudraba, Cello Reinut Tepp, Harpsichord Ula Ulijona, Viola Wolfgang Amadeus Mozart, Composer |
Moz-Art à la Haydn |
Alfred Schnittke, Composer
Alfred Schnittke, Composer Eva Bindere, Violin Gidon Kremer, Violin Kremerata Baltica |
Cassation, 'Toy Symphony' |
Leopold Mozart, Composer
Kremerata Baltica Leopold Mozart, Composer |
Author:
This is an unashamedly indulgent concert‚ in Gidon Kremer’s words ‘an attempt to set Mozart in the frame of our own time‚’ partly by providing three works which offer ‘reworkings‚ paraphrases‚ or simply memories of Mozart’s idiom’. However‚ the first item‚ by Raskatov‚ does offer a rather charming serenade for solo violin against pizzicato strings. But it reminds me more of the famous quartet movement by Hoffstetter‚ once attributed to Haydn. At the close there are some added histrionics‚ plus a ghostly coda‚ to remind the listener that this is a 20thcentury piece.
Silvestrov’s The Messenger arrives on a desolate landscape with a pervading background of synthesised wind‚ against which we hear distanced‚ wispy snippets of real or pastiche Mozart. It is quite atmospheric in its way‚ but hardly memorable. Schnittke’s MozArt à la Haydn is more adventurous‚ a weird mêlée of Mozartian fragmentation ‘put through the compositional equivalent of a food processor’ (as the insertnote tells us). Schnittke moves from bizarre harmonics to a playful carnival dance sequence scored for two solo violins and strings. It is certainly ingeniously inventive‚ but has a visual element not perceivable here: at the climax the music quickens to a frenzied disintegration‚ and the musicians – still playing disconsolately – leave the stage singly‚ after the style of Haydn’s Farewell Symphony.
Mozart’s own Serenata notturna is given a bold‚ alert‚ rhythmically strong performance. But in the finale there are not only violin cadenzas and an ad lib instrumental section‚ but before the coda the timpanist is let completely loose with an explosive contribution of his own. Fortunately Eine kleine Nachtmusik is left untampered with‚ a lively account very well played‚ if with more energy than charm. Leopold Mozart’s Toy Symphony features contemporary electronic toys‚ and produces some very strange sounds‚ especially the grotesque squeaks in the Minuet; and no one could say the performers are unenthusiastic in the riotous finale. But who would buy a CD with a programme like this‚ especially at full price?
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