Gil Sullivan - Hidden Voices, Mozart Piano Sonatas, Volume V (2024) [Hi-Res]
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BAND/ARTIST: Gil Sullivan
- Title: Hidden Voices, Mozart Piano Sonatas, Volume V
- Year Of Release: 2024
- Label: Hunnia Records
- Genre: Classical Piano
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:12:28
- Total Size: 259 mb / 1.14 gb
- WebSite: Album Preview
Tracklist
01. Sonatensatz in G minor, K590d Allegro
02. Sonata No.7 in C major, K309 I. Allegro con spirito
03. Sonata No.7 in C major, K309 II. Andante un poco adagio
04. Sonata No.7 in C major, K309 III. RONDEAU - Allegretto grazioso
05. Sonatensatz in B flat major, K400 Allegro
06. Sonata No.10 in C major, K330 I. Allegro Moderato
07. Sonata No.10 in C major, K330 II. Andante cantabile
08. Sonata No.10 in C major, K330 III. Allegretto
09. Sonata No.18 in D major, K576 I. Allegro
10. Sonata No.18 in D major, K576 II.Adagio
11. Sonata No.18 in D major, K576 III. Allegretto
Mozart was born at the close of the baroque era, so it seems only natural to consider his music in a more contrapuntal light. Yes, he did not grow up to be a late-baroque composer, though loved improvising fugues. He composed a Praeludium and Fugue in C (K394), plus the first three movements of a baroque suite also in C (K399). Late-baroque techniques and repertoire still circulated at the heart of that period’s musical vernacular, influencing all musicians in and beyond the second half of the 18th Cent. Written some 30 years before Mozart’s birth, we know as a youth he assiduously pored over Joseph Fux’s Gradus ad Parnassum. Still today the most significant and influential examination of Renaissance Polyphony ever written, it has never been out of print since 1725. (Haydn studied it in scrupulous detail, completing every single exercise). Mozart was not only highly conversant with polyphonic techniques, he initially used it to render musical unity and inner logic, whilst in his last 8-9 years in Vienna, it increasingly served as not only a compositional pillar, but as potent, intrinsic musical fibre.
We also know the bass line for Mozart was of extreme importance. He wrote - with great relish - many letters about orchestras across Europe boasting large numbers of double basses, plus 4 bassoons! No historically informed orchestra today would ever dream of having more double basses than cellos, and never! 4 bassoons.
In 1826 (35 years after Mozart’s death, and just a year before Beethoven’s), Hans Georg Nägeli, a Zürich philosopher and musicologist delivered a lecture in Stuttgart claiming Mozart’s love for excessive contrast was “the most styleless of the great composers”. “...both shepherd and warrior, sycophant and hothead...soft melodies frequently alternate with sharply cutting tonal interplay; grace of movements with impetuosity. Great was his genius, but also great were his genial errors of creating effects through contrast”. It was “unartistic when something can be made effective only through its opposites. This stylistic nonsense can be pointed out in many instances in many of his works.” If, 35 years after his death, Mozart’s music could still seem dissonant, vulgar and repellent, even to educated musicians, this is surely testament that there is so much more to his music than mere charm. Notes to be finalised in Vol. VI, Gil Sullivan.
01. Sonatensatz in G minor, K590d Allegro
02. Sonata No.7 in C major, K309 I. Allegro con spirito
03. Sonata No.7 in C major, K309 II. Andante un poco adagio
04. Sonata No.7 in C major, K309 III. RONDEAU - Allegretto grazioso
05. Sonatensatz in B flat major, K400 Allegro
06. Sonata No.10 in C major, K330 I. Allegro Moderato
07. Sonata No.10 in C major, K330 II. Andante cantabile
08. Sonata No.10 in C major, K330 III. Allegretto
09. Sonata No.18 in D major, K576 I. Allegro
10. Sonata No.18 in D major, K576 II.Adagio
11. Sonata No.18 in D major, K576 III. Allegretto
Mozart was born at the close of the baroque era, so it seems only natural to consider his music in a more contrapuntal light. Yes, he did not grow up to be a late-baroque composer, though loved improvising fugues. He composed a Praeludium and Fugue in C (K394), plus the first three movements of a baroque suite also in C (K399). Late-baroque techniques and repertoire still circulated at the heart of that period’s musical vernacular, influencing all musicians in and beyond the second half of the 18th Cent. Written some 30 years before Mozart’s birth, we know as a youth he assiduously pored over Joseph Fux’s Gradus ad Parnassum. Still today the most significant and influential examination of Renaissance Polyphony ever written, it has never been out of print since 1725. (Haydn studied it in scrupulous detail, completing every single exercise). Mozart was not only highly conversant with polyphonic techniques, he initially used it to render musical unity and inner logic, whilst in his last 8-9 years in Vienna, it increasingly served as not only a compositional pillar, but as potent, intrinsic musical fibre.
We also know the bass line for Mozart was of extreme importance. He wrote - with great relish - many letters about orchestras across Europe boasting large numbers of double basses, plus 4 bassoons! No historically informed orchestra today would ever dream of having more double basses than cellos, and never! 4 bassoons.
In 1826 (35 years after Mozart’s death, and just a year before Beethoven’s), Hans Georg Nägeli, a Zürich philosopher and musicologist delivered a lecture in Stuttgart claiming Mozart’s love for excessive contrast was “the most styleless of the great composers”. “...both shepherd and warrior, sycophant and hothead...soft melodies frequently alternate with sharply cutting tonal interplay; grace of movements with impetuosity. Great was his genius, but also great were his genial errors of creating effects through contrast”. It was “unartistic when something can be made effective only through its opposites. This stylistic nonsense can be pointed out in many instances in many of his works.” If, 35 years after his death, Mozart’s music could still seem dissonant, vulgar and repellent, even to educated musicians, this is surely testament that there is so much more to his music than mere charm. Notes to be finalised in Vol. VI, Gil Sullivan.
Year 2024 | Classical | FLAC / APE | HD & Vinyl
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