Jane Gower, Anima Eterna Brugge, Jos van Immerseel - Mozart: Symphonies Nos. 39, 40, 41 & Bassoon Concerto (2003)
BAND/ARTIST: Jane Gower, Anima Eterna Brugge, Jos van Immerseel
- Title: Mozart: Symphonies Nos. 39, 40, 41 & Bassoon Concerto
- Year Of Release: 2003
- Label: Alpha
- Genre: Classical
- Quality: flac lossless +Booklet
- Total Time: 01:44:22
- Total Size: 503 mb
- WebSite: Album Preview
Tracklist
CD1
01. Symphony No. 39 in E-Flat Major, K. 543: I. Adagio - Allegro
02. Symphony No. 39 in E-Flat Major, K. 543: II. Andante con moto
03. Symphony No. 39 in E-Flat Major, K. 543: III. Menuetto (Allegro) - Trio
04. Symphony No. 39 in E-Flat Major, K. 543: IV. Finale (Allegro)
05. Symphony No. 40 in G Minor, K. 550: I. Molto allegro
06. Symphony No. 40 in G Minor, K. 550: II. Andante
07. Symphony No. 40 in G Minor, K. 550: III. Menuetto (Allegretto) - Trio
08. Symphony No. 40 in G Minor, K. 550: IV. Allegro assai
CD2
01. Symphony No. 41 in C Major, K. 551 "Jupiter": I. Allegro vivace
02. Symphony No. 41 in C Major, K. 551 "Jupiter": II. Andante cantabile
03. Symphony No. 41 in C Major, K. 551 "Jupiter": III. Menuetto (Allegro)
04. Symphony No. 41 in C Major, K. 551 "Jupiter": IV. Molto allegro
05. Concerto for Bassoon in B-Flat Major, K. 191: I. Allegro
06. Concerto for Bassoon in B-Flat Major, K. 191: II. Andante ma adagio
07. Concerto for Bassoon in B-Flat Major, K. 191: III. Rondo (Tempo di menuetto)
During a scant ten weeks in the summer of 1788, Mozart wrote three outstanding symphonies, highly innovative in their complexity and length. He was thirty-two and living in Vienna, a city which had offered him numerous opportunities in the past. Musically, it had provided a platform combining excellent musicians and enthusiastic audiences. In more personal terms, it was the place where he had freed himself from the emotional pressure exerted by his father Leopold and his former employer, the Archbishop of Salzburg. However, Viennese audiences were no longer interested in his masterful modernist compositions. When Mozart composed these, his last three symphonies, he was thought of as a ‘dissonance hunter.’ In this symphonic ‘trilogy,’ Mozart illuminates all aspects of human expression, quite independently of his personal situation. Each work presents a different character. No. 39 in E flat major contains numerous elements reminiscent of chamber music, while no. 40 in G minor makes clear references to opera. No. 41 in C major includes formal elements from Baroque music (overture, concerto, fugue). Its synthesis of sonata form and fugue was, and still is, a tour de force that could only have been written by Mozart.
CD1
01. Symphony No. 39 in E-Flat Major, K. 543: I. Adagio - Allegro
02. Symphony No. 39 in E-Flat Major, K. 543: II. Andante con moto
03. Symphony No. 39 in E-Flat Major, K. 543: III. Menuetto (Allegro) - Trio
04. Symphony No. 39 in E-Flat Major, K. 543: IV. Finale (Allegro)
05. Symphony No. 40 in G Minor, K. 550: I. Molto allegro
06. Symphony No. 40 in G Minor, K. 550: II. Andante
07. Symphony No. 40 in G Minor, K. 550: III. Menuetto (Allegretto) - Trio
08. Symphony No. 40 in G Minor, K. 550: IV. Allegro assai
CD2
01. Symphony No. 41 in C Major, K. 551 "Jupiter": I. Allegro vivace
02. Symphony No. 41 in C Major, K. 551 "Jupiter": II. Andante cantabile
03. Symphony No. 41 in C Major, K. 551 "Jupiter": III. Menuetto (Allegro)
04. Symphony No. 41 in C Major, K. 551 "Jupiter": IV. Molto allegro
05. Concerto for Bassoon in B-Flat Major, K. 191: I. Allegro
06. Concerto for Bassoon in B-Flat Major, K. 191: II. Andante ma adagio
07. Concerto for Bassoon in B-Flat Major, K. 191: III. Rondo (Tempo di menuetto)
During a scant ten weeks in the summer of 1788, Mozart wrote three outstanding symphonies, highly innovative in their complexity and length. He was thirty-two and living in Vienna, a city which had offered him numerous opportunities in the past. Musically, it had provided a platform combining excellent musicians and enthusiastic audiences. In more personal terms, it was the place where he had freed himself from the emotional pressure exerted by his father Leopold and his former employer, the Archbishop of Salzburg. However, Viennese audiences were no longer interested in his masterful modernist compositions. When Mozart composed these, his last three symphonies, he was thought of as a ‘dissonance hunter.’ In this symphonic ‘trilogy,’ Mozart illuminates all aspects of human expression, quite independently of his personal situation. Each work presents a different character. No. 39 in E flat major contains numerous elements reminiscent of chamber music, while no. 40 in G minor makes clear references to opera. No. 41 in C major includes formal elements from Baroque music (overture, concerto, fugue). Its synthesis of sonata form and fugue was, and still is, a tour de force that could only have been written by Mozart.
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