Another genius! Goethe said that Mendelssohn was more impressive than Mozart as a child prodigy ... what does it matter when what these people compose is so out-of-this-world? Mozart, like Mendelssohn began composing extraordinarily young. It is said that some of these works were composed by his father - but from very small young, one could recognize the touch of a genius.
This year, we decided to present the works of chamber music by Mozart. He is perhaps the best-known composer to the general public but only for a few works amd more because of movie 'Amadeus' than for his music. My intention is to show and share with you what is 'great' about his music. He is able to change character three times in a phrasing, knows perfectly when to place the magical moments, and creates an inexhaustible quantity of melodies and texture. He can have humour, sadness, depth, and joy, all within three minutes of music. And all this so naturally. It is extremely pure and natural music but it is precisely its purity and simplicity which makes it so difficult to play!
For our first concert, we will only perform one work of Mozart: a youthful work (composed when he was 21 years old) but according to Alfred Brendel, "one of the monumental works of Mozart, one of those in which he is fully himself, in which does not seek to ingratiate himself with his audience but rather win by the originality and audacity. " It is a concerto for piano and orchestra, one of his 27 piano concertos, full of innovations as we hear in the double concerto for violin and piano by Mendelssohn we played two seasons ago. As with Mendelssohn, it often resembles a dialogue between piano and orchestra, resembling an opera. Being an exceptional concert, we decided to fill the program with different music. Finally, something contemporary: Alfred Schnittke, a work entitled 'Moz-Art a la Haydn.' From the title, you can imagine the kind of music. Schnittke, a very daring Russian composer, uses themes from Mozart, very simple excerpts, and puts them one over the other, creating a game of construction and deconstruction. Each musician has an individual part and a particular role. A work to see in live performance and to be taken by his cleverness! To end the program, one of the favorite works of all chamber orchestras: the Four Seasons Porteñas composed by the incredible bandoneon player and Argentine composer, Astor Piazzolla. In this version, an arrangement of another Russian clever composer, combines Vivaldi Seasons with the Piazzolla Seasons, superimposing them over the Argentine tango rhythm. A delight !!
In the second concert, on January 26, 'pure' Mozart with one of the most beautiful sonatas for violin and piano, K. 454 and one of the quintets with two violas, with the luxury of having three inner voices (violin II and 2 violas), to support the first violin and fill the texture provided by the bass (cello).
In the third concert, on February 14 (Valentine's Day!), A duet for violin and viola with excellent Italian violist, Duccio Beluffi, and the masterpiece of quintets with two violas, G minor, K. 516 .
In the fourth concert, April 6, we will play Mozart's best string concerto, the Sinfonia Concertante for violin, viola, and orchestra. It will be the opportunity to work with young students of the Conservatory and make a large chamber orchestra to accompany the concerto and to shine in the Symphony No. 29.
And the last concert, on 20 April, one of my favorite and most impressive works of chamber music by Mozart, the Divertimento for string trio, K. 563. Long and very difficult to execute, it is a miracle of a work, with an unsurpassed variation movement. To complete the program, the Piano Quartet K. 493, less complicated than the trio but an inexhaustible charm so typical of Mozart.