Classical Opera

Grabmusik, Bastien und Bastienne

Price: € 19.95
Format: CD
Label: Signum Classics
UPC: 0635212054727
Catnr: SIGCD 547
Release date: 07 September 2018
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Label
Signum Classics
UPC
0635212054727
Catalogue number
SIGCD 547
Release date
07 September 2018

"Mozarts "Grabmusik" and "Bastien und Bastienne" by Classical Opera on the label Signum Classics. Heavenly!"

Stretto, 03-9-2018
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Artist(s)
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About the album

Continuing their complete Mozart opera recording cycle, Classical Opera’s latest release shines a light on two early opera works by Mozart.

Grabmusik was reported to be the product of a test set by the prince of Salzburg, who: “... not crediting that such masterly compositions were really those of a child, shut him up for a week, during which he was not permitted to see any one, and was left only with music paper, and the words of an oratorio ... During this short time he composed a very capital oratorio, which was most highly approved of upon being performed.” Performed for Holy Week the title can be translated as ‘Cantata on Christ’s Grave’ (literally ‘Grave Music’), and the anonymous text takes the form of a dialogue between a tormented soul, who is desperately lamenting the tragedy of Christ’s death, and an angel.

Bastien und Bastienne is the only one of Mozart’s operas to have been written for performance in a private house rather than a theatre. Commissioned at some point in mid-1768 by the renowned and controversial German physician Franz Anton Mesmer, it tells the tale of two young shepherds, Bastien and Bastienne, being reconciled in love the fortune teller and magician Collas after Bastien has brie y been lured away by the attractions of a noble lady from the city. This new recording uses Mozart’s original 1767 setting of the libretto by F. W. Weiskern & J. H. F. Müller, the provenance of which was only established in 1980s.

Deze release van Classical Opera in hun opera-cyclus van Mozart belicht twee van zijn vroege composities.

Grabmusik K.42 ; K6.35a was naar verluidt het product van een test van de prins-aartsbisschop van Salzburg, die niet kon geloven dat een meesterlijke composities van de hand van een kind kond zijn. Hij sloot daarom Mozart een week op, waarbij het Mozart niet werd toegestaan om iemand te zien, en alleen bleef met enkel een pen, muziekpapier, en een tekst die hij op muziek moest zetten. In deze korte tijd componeerde de 15-jarige Mozart in 1772, een heus oratorium, dat zeer werd geprezen toen het werd uitgevoerd. Uitgevoerd tijdens de Goede Week, kan de titel worden vertaald worden als ‘Cantate op het graf van Christus’ (letterlijk “Grabmusik”). De anonieme tekst was in de vorm van een dialoog tussen een gekwelde ziel, die wanhopig treurt over de tragedie van de dood van Christus, en een engel. Toen het werk halverwege de jaren 1770 nieuw leven werd ingeblazen, voegde Mozart een laatste recitatief en een koor toe, maar deze opname bewaart het origineel door te eindigen met het verzoenend duet tussen de ziel en de engel.

Bastien und Bastienne was het enige Singspiel of Schäferspiel dat Mozart componeerde voor een privé uitvoering in plaats van voor een theater. De 11-jarige (!) Mozart componeerde het halverwege 1768 in opdracht van de vermaarde en controversiële Duitse arts en astroloog, Franz Anton Mesmer. De eerste opvoering was in 1768 in het huis van dr. Anton Mesmer in Wenen. Bastien und Bastienne vertelt het verhaal over een jonge herder en een jonge herderin, Bastien en Bastienne, die verliefd zijn op elkaar. Door de waarzegger en tovenaar Colas is Bastien weggelokt door een nobele dame uit de stad. Bastienne is bang dat zij Bastien zal verliezen wegens vermeende ontrouw en vraagt advies aan Colas. Hij adviseert haar om net te doen of ze Bastien niet meer graag ziet en tevens gaat Colas naar Bastien en vertelt hem dat zijn liefje iemand anders heeft. Dit is voor beiden uiteindelijk te veel en alles resulteert in een innige hereniging. Deze nieuwe opname maakt gebruik van het oorspronkelijk libretto uit 1764 van F.W. Weiskern & J.H. F. Müller, waarvan de herkomst pas in de jaren tachtig werd bevestigd en erkend.

Artist(s)

Classical Opera

Classical Opera was founded in 1997 by conductor Ian Page to explore the works of Mozart and his contemporaries, and has emerged as one of the leading exponents in its eld. In 2017 it launched a new brand, The Mozartists, enabling it to broaden its ever-expanding concert work while continuing to present recordings and performances of complete operas under the name of Classical Opera. With its own acclaimed period-instrument orchestra, the company has attracted widespread critical and public recognition, not only for the high quality of its performances but also for its imaginative programming and its ability to discover and nurture outstanding young singers. In 2015 it launched MOZART 250, a ground-breaking 27-year project following the chronological trajectory of Mozart’s...
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Classical Opera was founded in 1997 by conductor Ian Page to explore the works of Mozart and his contemporaries, and has emerged as one of the leading exponents in its eld. In 2017 it launched a new brand, The Mozartists, enabling it to broaden its ever-expanding concert work while continuing to present recordings and performances of complete operas under the name of Classical Opera. With its own acclaimed period-instrument orchestra, the company has attracted widespread critical and public recognition, not only for the high quality of its performances but also for its imaginative programming and its ability to discover and nurture outstanding young singers. In 2015 it launched MOZART 250, a ground-breaking 27-year project following the chronological trajectory of Mozart’s life, works and in uences.

Classical Opera has performed regularly at many of London and the UK’s leading venues, including Wigmore Hall, the Barbican, Sadler’s Wells, Birmingham Town Hall and Bridgewater Hall, Manchester, and on tour in Italy, France, Germany and Austria, where it enjoyed a three-concert residency at the 2016 Eisenstadt Haydn Festival. It has mounted staged productions of many of Mozart’s operas, and in 2009 presented The Royal Opera’s new production of Thomas Arne’s Artaxerxes. It has also given the world première of the ‘original’ version of Mozart’s Mitridate, re di Ponto, and the UK premières of Gluck’s La clemenza di Tito, Telemann’s Orpheus and Jommelli’s Il Vologeso.

Classical Opera’s first two recordings – ‘The A-Z of Mozart Opera’ (Sony BMG, 2007, re-released on Signum Classics, 2014) and ‘Blessed Spirit – a Gluck retrospective’ (Wigmore Hall Live, 2010) – were both selected for Gramophone magazine’s annual Critic’s Choice. In May 2016 the company released ‘Where’er You Walk’, with tenor Allan Clayton, which was shortlisted for the 2017 International Opera Awards, and this was followed in May 2017 by The Mozartists’ début recording ‘Per do!’, a programme of Mozart, Haydn and Beethoven concert arias featuring soprano Sophie Bevan. This current recording is the seventh release in Classical Opera’s complete recording cycle of Mozart’s operas.


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The Mozartists

The Mozartists, under the dynamic leadership of conductor and artistic director Ian Page, are leading exponents of the music of Mozart and his contemporaries. Originally called Classical Opera, the company was founded in 1997, and has received widespread international acclaim for its stylish and virtuosic period-instrument orchestra, its imaginative and innovative programming, and its ability to nurture and develop world-class young artists. The Mozartists have a prolific recording profile, and perform regularly at the UK’s leading venues, including Wigmore Hall, the Barbican, Southbank Centre and Birmingham Town Hall; they have also toured to Germany, Austria, Italy, France, Greece and the Czech Republic. Renowned for their fresh and insightful interpretations of well-known masterpieces as well as for their ability to bring rare works to...
more

The Mozartists, under the dynamic leadership of conductor and artistic director Ian Page, are leading exponents of the music of Mozart and his contemporaries. Originally called Classical Opera, the company was founded in 1997, and has received widespread international acclaim for its stylish and virtuosic period-instrument orchestra, its imaginative and innovative programming, and its ability to nurture and develop world-class young artists.

The Mozartists have a prolific recording profile, and perform regularly at the UK’s leading venues, including Wigmore Hall, the Barbican, Southbank Centre and Birmingham Town Hall; they have also toured to Germany, Austria, Italy, France, Greece and the Czech Republic. Renowned for their fresh and insightful interpretations of well-known masterpieces as well as for their ability to bring rare works to light, they have mounted staged productions of many of Mozart’s operas, and have also given numerous UK premières, including Gluck’s La clemenza di Tito, Telemann’s Orpheus, Jommelli’s Il Vologeso, Haydn’s Applausus and Hasse’s Piramo e Tisbe.

In 2015 the company launched MOZART 250, a ground-breaking 27-year project exploring the chronological trajectory of Mozart’s life, works and influences. Described by The Observer as “among the most audacious classical music scheduling ever”, this flagship project presents 250thanniversary performances of most of Mozart’s important works, placing them in context alongside other significant works by Mozart’s contemporaries.

Page and his ensemble are also celebrated for their studio recordings. Their first two recordings – ‘The A-Z of Mozart Opera’ and ‘Blessed Spirit – a Gluck retrospective’ – were both selected for Gramophone’s annual Critics’ Choice, and the first seven releases in their ongoing recording cycle of the complete Mozart operas have attracted superlative reviews. Further recordings include the acclaimed 2-CD set ‘Mozart in London’ and recital discs featuring tenor Allan Clayton (‘Where’er You Walk’) and soprano Sophie Bevan (‘Perfido!’), both of which were shortlisted for the International Opera Awards. They recently released the first two volumes in a new ‘Sturm und Drang’ series.

“Conductor, instrumentalists and singers alike make sound the servant of the sense, with stylish, eloquent and dramatic music-making of the highest order.” INTERNATIONAL RECORD REVIEW


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Ian Page (conductor)

Ian Page (conductor) is the founder, conductor and artistic director of Classical Opera, and is emerging as one of the leading British conductors of his generation. He began his musical education as a chorister at Westminster Abbey, and studied English Literature at the University of York before completing his studies at the Royal Academy of Music in London. At the start of his career he worked on the music staff at Scottish Opera, Opera Factory, Glyndebourne and the Drottningholm Slottsteater in Sweden, working with such conductors as Sir Alexander Gibson, Nicholas McGegan, Mark Wigglesworth, Ivor Bolton and Sir Charles Mackerras. With Classical Opera he has conducted most of Mozart’s early operas, including the world première of the ‘original’ version of Mitridate,...
more

Ian Page (conductor) is the founder, conductor and artistic director of Classical Opera, and is emerging as one of the leading British conductors of his generation. He began his musical education as a chorister at Westminster Abbey, and studied English Literature at the University of York before completing his studies at the Royal Academy of Music in London. At the start of his career he worked on the music staff at Scottish Opera, Opera Factory, Glyndebourne and the Drottningholm Slottsteater in Sweden, working with such conductors as Sir Alexander Gibson, Nicholas McGegan, Mark Wigglesworth, Ivor Bolton and Sir Charles Mackerras.

With Classical Opera he has conducted most of Mozart’s early operas, including the world première of the ‘original’ version of Mitridate, re di Ponto and a new completion of Zaide, as well as Le nozze di Figaro, Così fan tutte and La clemenza di Tito. He has also conducted the UK premières of Gluck’s La clemenza di Tito, Telemann’s Orpheus and Jommelli’s Il Vologeso, as well as the first new staging for 250 years of Johann Christian Bach’s Adriano in Siria. In 2009 he made his Royal Opera House début conducting Arne’s Artaxerxes at the Linbury Studio Theatre, and his studio recording of the work was released in 2011 on Linn Records.

He devised and conducted Classical Opera’s recordings of ‘The A-Z of Mozart Opera’ (Signum Classics) and ‘Blessed Spirit – a Gluck retrospective’ (Wigmore Hall Live), both of which were selected for Gramophone magazine’s annual Critic’s Choice, and he recently embarked on an acclaimed new complete cycle of Mozart opera recordings with Classical Opera. He has also created and devised MOZART 250, Classical Opera’s ambitious 27-year journey through Mozart’s music and influences, which was launched in London in 2015.


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Composer(s)

Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart, whose actual name is Joannes Chrysotomus Wolfgangus Theophilus Mozart, was a composer, pianist, violinist and conductor from the classical period, born in Salzburg. Mozart was a child prodigy. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Along with Johann Sebastian Bach and Ludwig van Beethoven, Mozart is considered to be one of the most influential composers of all of music's history. Within the classical tradition, he was able to develop new musical concepts which left an everlasting impression on all the composers that came after him. Together with Joseph Haydn and Ludwig van Beethoven he is part of the First Viennese School.  At 17, Mozart was engaged as...
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Wolfgang Amadeus Mozart, whose actual name is Joannes Chrysotomus Wolfgangus Theophilus Mozart, was a composer, pianist, violinist and conductor from the classical period, born in Salzburg. Mozart was a child prodigy. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Along with Johann Sebastian Bach and Ludwig van Beethoven, Mozart is considered to be one of the most influential composers of all of music's history. Within the classical tradition, he was able to develop new musical concepts which left an everlasting impression on all the composers that came after him. Together with Joseph Haydn and Ludwig van Beethoven he is part of the First Viennese School. At 17, Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. From 1763 he traveled with his family through all of Europe for three years and from 1769 he traveled to Italy and France with his father Leopold after which he took residence in Paris. On July 3rd, 1778, his mother passed away and after a short stay in Munich with the Weber family, his father urged him to return to Salzburg, where he was once again hired by the Bishop. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death.


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Press

Mozarts "Grabmusik" and "Bastien und Bastienne" by Classical Opera on the label Signum Classics. Heavenly!
Stretto, 03-9-2018

Play album
01.
Grabmusik, K. 42/35a (Original 1767 Version): No. 1,
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Grabmusik, K. 42/35a (Original 1767 Version): No. 2,
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Grabmusik, K. 42/35a (Original 1767 Version): No. 3,
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Grabmusik, K. 42/35a (Original 1767 Version): No. 4,
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Grabmusik, K. 42/35a (Original 1767 Version): No. 5,
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Grabmusik, K. 42/35a (Original 1767 Version): No. 6,
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07.
Bastien und Bastienne, K. 50 (Original 1768 Version): Intrada
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 1: No. 1,
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 1:
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 1: No. 2,
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Bastien und Bastienne, K. 50 (Original 1768 Version): Entrance of Colas
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 2: No. 4,
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 2:
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 2: No. 5,
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 2:
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 2: No. 6,
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 2:
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 2: No. 7,
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 3:
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 4: No. 8,
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 4:
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 4: No. 9,
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 4:
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 4: No. 10,
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 4:
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 5: No. 11,
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27.
Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 6:
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 6: No. 12,
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 6
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 6: No. 13,
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 6
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32.
Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 6: No. 14,
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 6 Und sollte ich wohl ein solcher Narr sein
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 6: No. 15, Geh! geh! geh, Herz von Flandern!
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Bastien und Bastienne, K. 50 (Original 1768 Version): Scene 7: No. 16
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36.
Bastien und Bastienne, K. 50 (2nd 1769 Version): Scene 4: No. 10,
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show all tracks

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