Charles Neidich, Clarimonia & Solamente Naturali | Mozart 1791

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Mozart 1791

by Charles Neidich, Clarimonia & Solamente Naturali

Charles Neidich and Orchestra Solamente Naturali join forces in this new period instrument album "Mozart 1791". The centerpiece of the CD is Mozart's Concerto for Basset clarinet and Orchestra in A major, which premiered in 1791.
Genre: Classical: Concerto
Release Date: 

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  Song Share Time Download
1. Concerto for Basset Clarinet and Orchestra in A Major, K. 622: I. Allegro
Charles Neidich & Solamente Naturali
12:46 $0.99
2. Concerto for Basset Clarinet and Orchestra in A Major, K. 622: II. Adagio
Charles Neidich & Solamente Naturali
6:56 $0.99
3. Concerto for Basset Clarinet and Orchestra in A Major, K. 622: III. Rondo - Allegro
Charles Neidich & Solamente Naturali
8:44 $0.99
4. Concerto for 3 Basset Horns and Orchestra in F Major: I. Allegro assai
Clarimonia, Solamente Naturali & Charles Neidich
5:03 $0.99
5. Concerto for 3 Basset Horns and Orchestra in F Major: II. Adagio
Clarimonia, Solamente Naturali & Charles Neidich
3:42 $0.99
6. Concerto for 3 Basset Horns and Orchestra in F Major: III. Rondeau - Tempo di menuetto
Clarimonia, Solamente Naturali & Charles Neidich
2:36 $0.99
7. Adagio in B Major for 2 Clarinets and 3 Basset Horns, K. 411
Charles Neidich, Ayako Oshima & Clarimonia
5:46 $0.99
8. Adagio in F Major for Clarinet and 3 Basset Horns, K. 580a
Charles Neidich & Clarimonia
6:20 $0.99
Downloads are available as MP3-320 files.


Album Notes
In a review of the new album "Mozart 1791", The New York Times said "Charles Neidich’s reading of Mozart’s Concerto for Basset Clarinet in A (KV 622) radiates sunny serenity."
Charles Neidich has gained worldwide recognition as one of the most mesmerizing virtuosos on his instrument. With a tone of hypnotic beauty and a dazzling technique, Mr. Neidich has received unanimous accolades from critics and fellow musicians both in the United States and abroad; but it is his musical intelligence in scores as diverse as Mozart and Elliott Carter that have earned for Mr. Neidich a unique place among clarinetists. In the words of The New Yorker, “He’s an artist of uncommon merit -- a master of his instrument and, beyond that, an interpreter who keeps listeners hanging on each phrase.”


The History and Mystery of Mozart ’s Basset Clarinet Concerto , KV.622

An often neglected, yet very important aspect of Mozart’s prodigious musical output was how revolutionary so much of it was. The inspiration for this most often came from the fact that he wrote for his friends: friends who were the outstanding musicians of his time and also the “cutting edge” of instrumental and musical innovation. Of these friendships, none was as significant as that with the clarinetist, Anton Stadler, inspiring works which today form the core of woodwind chamber music and culminating with his great concerto for basset clarinet KV 622. Anton Stadler, whose tone was described as “closest to the human voice,” and who loved the warm quality of the basset horn, worked with the Viennese instrument maker, Theodor Lotz, to combine the best features of the basset horn and the clarinet, extending the clarinet’s low range down 4 semitones. Stadler’s basset clarinet inspired Mozart to compose a subtly new kind of concerto, more connected to opera than to instrumental music. It is more than possible that Stadler’s very vocal approach to playing inspired Mozart as much as the extended range of his basset clarinet. There are 2 mysteries surrounding the concerto. The first: what did Stadler’s instrument look like and the second: what happened to the manuscript. The first, luckily has very much been solved thanks to the discovery of a program of a concert Stadler played in Riga in 1794. On it there is drawing of Stadler’s instrument – a long instrument with a slightly bent neck and a bowl shaped bell facing inward. The second remains the big mystery. The manuscript for the concerto KV 622 is lost. Stadler, very likely, played the premiere of the concerto in Prague on October 16, 1791. He spent the next years touring Europe almost certainly performing the concerto in several cities. Stadler mentioned that a case containing scores and instruments was stolen while he was on that tour. Luckily, a fragment of a preliminary version exists. This fragment not only establishes that Mozart used all the chromatic low notes, it also shows the way to reconstruct the original version. By checking through the score, we can recreate with a fair degree of certainty the remarkable operatic work Mozart created for his friend Anton Stadler. (text: Charles Neidich)


Known as a leading exponent of period instrument performance practice, Charles Neidich was one of the first soloists to improvise cadenzas and ornament classical concertos. He has performed his restoration of the Mozart Concerto throughout the world both on modern and period instruments. Mr. Neidich has been influential in restoring original versions of works and bringing them before the public. Mr. Neidich is also an ardent exponent of new music and has premiered works by Milton Babbitt, Elliott Carter, Edison Denisov and has championed concertos by Helmut Lachenmann and John Corigliano. His recordings are available on the Sony Classical, Sony Vivarte, Deutsche Grammophon, Chandos, Musicmasters, Hyperion, and Bridge labels. Very active in education,Charles Neidich is on the faculties of the Juilliard School, the Manhattan School, the Mannes College The New School for Music and Queens College of the City University of New York.


The clarinet maker Jochen Seggelke, founded CLARIMONIA in 1999. It began as a group that was interested in historical clarinet instruments, and wanted to play the old masters on the instruments that were available at their time. To achieve this, the very best material is necessary: exact reproductions of historical instruments, mouthpieces and reeds. Also needed was a comprehensive knowledge of the music itself. Soon CLARIMONIA was very busy playing concerts. Because it is obvious that more knowledge and possibilities are needed, the group lectures for students in German Music Universities and teaches masterclasses and workshops in Switzerland, Japan, USA, Spain and Austria.


Ayako Oshima, winner of numerous international competitions, is one of the most popular clarinet soloists in Japan where she performs on a regular basis both in recital and in concerto appearances with orchestra. She is the founder of the “NY Licorice Ensemble” which is an all female clarinet ensemble. She has also served on the jury of the Japan Music Competition and the International Jacques Lancelot Competition. With her husband, Charles Neidich, she has written a book on the basics of clarinet technique for the publisher, Toa Ongaku Inc. She has founded and is the Director of the Kita Karuizawa Music Seminar which attracts clarinet students from all over Asia. Ayako Oshima maintains a high profile as a teacher and is on the faculties of the Juilliard School, and The Hartt School. She performs on Seggelke Clarinet model 1000.


The early music chamber ensemble Solamente Naturali was founded in 1995 by its artistic leader and concert master Miloš Valent as a creative and flexible combination of musicians dedicated to the presentation of the music of the 17th and 18th centuries. Dynamic and vibrant in character, Solamente Naturali performs in variable formations depending on the repertoire and given occasion. The originality of this group is conveyed through a distinctive approach to the interpretation of the 17th and 18th century music. To create a similar atmosphere Solamente Naturali uses period instruments. Solamente naturali often cooperates with foreign soloists and chamber ensembles. The ensemble has appeared all over Europe, Canada and USA and on prestigious festivals – Vantaan Barokki Helsinki, Boston Music Festival, Larvik Narokk, Carinthischer Sommer, Händelfest Göttingen,
Trigonale Austria. The ensemble has recorded 18 CDs for ORF, Pavian Records, and ECM.



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