Results for: presto ballet
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Mozart Piano Concerto No. 9, First Mvt, Mitsuko Uchida Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano (More) Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271.
A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989
Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in
what is regarded by many as his first great masterpiece.
It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very
fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of
joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart.
1. Allegro, in E flat major and common (C) time
2. Andantino, in C minor and 3/4 time
3. Rondo (Presto), in E flat major and 2/2 time
Dawn Chan notes:
Renowned pianist Alfred Brendel has referred to Mozart's Piano Concerto No. 9, known as the Jeunehomme, as a "wonder of the world," going so far as to assert that Mozart "did not surpass this piece in the later piano concertos."
update--
thanks to Laemmerhirt, I moved past my old sources and got some new info!
Christopher H. Gibbs wrote in 2005:
WHAT'S IN A NAME?
Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is, Beethoven the "Emperor" Concerto or "Moonlight" Sonata, or Schubert the "Unfinished" Symphony. The names sometimes come from savvy publishers who know they can improve sales, or from impresarios, critics, or performers. The case of the Concerto we hear today is particularly interesting, and only recently explained. Little is known of the genesis or first performance of the E-flat Concerto. Twentieth-century accounts usually stated that Mozart composed it for a French keyboard virtuoso named Mademoiselle Jeunehomme, who visited Salzburg in the winter of 1777. Nothing else was known, not even the woman's first name.
Last year, the Viennese musicologist Michael Lorenz, a specialist in the music of Mozart's and Schubert's time and a brilliant archival detective, figured out the mystery. The nickname was coined by the French scholars Théodore de Wyzewa and Georges de Saint-Foix in their classic early-20th-century study of the composer. As Lorenz explains, "Since one of their favorite names for Mozart was 'jeune homme' (young man), they presented this person as 'Mademoiselle Jeunehomme.'"
In a September 1778 letter Mozart wrote to his father, he referred to three recent concertos, "one for the jenomy [K. 271], litzau [K. 246], and one in B-flat [K. 238]" that he was selling to a publisher. Leopold later called the first pianist "Madame genomai." (Spellings were often variable and phonetic at the time.) Lorenz has identified her as Victoire Jenamy, born in Strasbourg in 1749 and married to a rich merchant, Joseph Jenamy, in 1768. Victoire was the daughter of the celebrated dancer and choreographer Jean Georges Noverre (1727-1810), who was a good friend of Mozart's. He had choreographed a 1772 Milan production of Mozart's opera Lucio Silla and later commissioned the ballet Les Petits Riens for Paris. Although we still know little about Victoire Jenamy—she does not appear to have been a professional musician, though clearly Mozart admired her playing—Mozart's first great piano concerto can now rightly be called by its proper name: "Jenamy." (Less)
Hausmann Quartet: Hindemith's "Minimax" II Review by Paul M. Somers, Classical New Jersey
German Dada
Uninhibited playing
The movement (More) Review by Paul M. Somers, Classical New Jersey
German Dada
Uninhibited playing
The movement titles of the string quartet, even for those whose knowledge of German was sketchy at best, were redolent of Dada and Satie: (translated) "Army March 606, the Hohenfürstenberger"; The Two Merry Dirty Birds (for two piccolos); and "Overture to Water Poet and Bird Peasant." When the string quartet came on stage, having left a few minutes before after playing Barber's serious op. 11 quartet, they were dressed quite oddly. Wigs, including one which was a cone suggesting both Saturday Night Live cone heads and one of those Star Trek "races" differentiated from Earthlings only by having strange hair styles. Clothing was far from normal including strange glasses. At one point first violinist Isaac Allen fell off his chair quite spectacularly. Yes, this was Dada.
Comedy is not easy to pull off, but the Hausmann Quartet (and Hindemith, of course) had the large audience in stitches. The music is a cross between Mozart's "Musical Joke" and one of Ives' pieces using multiple marches in multiple tempi at the same time. The viola "rushed", "bad" entrances found the players "not together," and the performance was riddled with "wrong notes." The oddly costumed characters were by turns bemused and oblivious but always distinct, each operating with his or her own "logic."
The piece is devilishly difficult to play. The two violins playing the "piccolos" duet in harmonics was quite a remarkable feat in itself. Many parts of the piece require highly trained players to do things against their training. It often reminded me of a ballet requiring the dancers to turn in, not out.
Not only did the Hausmann Quartet play it brilliantly (it would have been funny just heard on CD), but they transported the concert far from the too often stuffy realm of chamber music. Their attitude was quite simply one of having fun, not at all self-conscious about the bizarre getups and pratfalls.
But behind the laughs, there was the ensemble's clear message for a new day: have fun playing. Do the serious music of the standard repertoire of course! But take a page from Shakespeare, who understood that the death of Duncan and its discovery were best separated by the very funny banter between the porter and MacDuff. Both Barber's and Schumann's music profited greatly by the presence of Hindemith's satiric work in between.
One can only hope that the Hausmann's enthusiastic embrace of such a rarely played piece is a harbinger of a less consistently "hallowed" sensibility in the world of quartets. I wished I could witness their Beethoven C-sharp minor Quartet, for their passionate lack of inhibition (not to be mistaken for lack of taste) could make the manic Presto a piece akin to a "minimax" experience, for people who understand humor so well will know how to fit it into many contexts.
"Loving what you do is contagious."
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