Johann Baptist Wendling Vidéos
compositeur allemand
- flûte
- Allemagne
- compositeur ou compositrice
Dernière mise à jour
2024-05-16
Actualiser
Wolfgang Amadeus Mozart Peter Lukas Graf Raymond Leppard Johann Baptist Wendling Wendling Alfred Einstein 1777 1778
Peter-Lukas Graf: Flute Raymond Leppard: Conductor English chamber orchestra Allegro maestoso 0:00 Adagio non troppo 8:51 Tempo di menuetto 18:37 The Flute Concerto No. 1 in G major (K. 313) was written in 1778 by Wolfgang Amadeus Mozart. Commissioned by the Dutch flautist Ferdinand De Jean in 1777, Mozart was supposed to provide four flute quartets and three flute concerti, yet he only completed two of the three concerti: K. 313 being the first. The Andante for Flute and Orchestra K. 315 may have been written as an alternative slow movement for this concerto. The piece is scored for a standard set of orchestral strings, two oboes (which are replaced with two flutes in the Adagio movement), and two horns. A lot has been written about Mozart’s dislike of the flute and the lovely music he wrote for it anyway—all based on one parenthetical comment in a letter to his father. It is not unreasonable for a composer of Mozart’s capabilities to write well for an instrument he or she does not particularly admire, but it seems unlikely that Mozart would have composed an opera about its magical power to transform human passion—“The sad will become happy, and the stony-hearted affectionate” the Three Ladies tell Papageno—if he himself did not believe that. Here is what Mozart actually wrote, in response to his father’s charge that he had lied about completing some flute music commissioned by the wealthy amateur flutist Ferdinand De Jean: “. . . you know that I become quite powerless whenever I am obliged to write for an instrument that I cannot bear.” These are words to weigh carefully, for the correspondence between Mozart and Leopold documents the volatile relationship between a highly ambitious father and a son still struggling to escape his grip; it must be read in that light. More revealing is the music Mozart wrote for the flute, including a number of felicitous passages in the symphonies and piano concertos, the moving lines for the trial by fire in The Magic Flute and the concertos and quartets were written in 1778 for De Jean. It was one of Mozart’s favorite musicians, Johann Baptist Wendling, the principal flutist in Mannheim, who put De Jean in touch with Mozart in the first place. Mozart was friendly with the Wendlings—he often stayed at their house and ate with them when he was in Mannheim—and he even orchestrated one of Wendling’s own flute concertos. In December 1777, Mozart wrote to his father that he had accepted a commission from De Jean to write “three short, simple concertos and a couple of quartets for the flute.” He was determined to complete the work in two months and made no mention at the time of his aversion to the instrument; no doubt the promised payment of 200 gulden, a sizeable sum, mitigated any inconvenience. In any event, Mozart procrastinated. On February 14 he wrote to his father that he had only finished two concertos and three quartets, and that De Jean had sent only 96 gulden. Leopold immediately realized that Mozart had been fudging the numbers all along; he fired off a letter of accusation. Mozart indignantly replied with a series of lame excuses, including the famous comment that has troubled flute players ever since. Leopold knew his son well; it appears that Mozart had finished two, not three of the quartets and the second of the two concertos was, in fact a reworking of an earlier oboe concerto. The commission was never completed, and De Jean paid Mozart not a gulden more. Yet with a clever cut-and-paste, corner-cutting approach to composition, Mozart produced music that surely charmed De Jean, and continues to enchant flute players today. The G major concerto is a bargain at any price. It is not only a work of delectable melody and elegance, but one that shows off the virtuosity of the player as well. (Long ago Alfred Einstein proposed that De Jean found the slow movement too florid and that Mozart offered as a substitute the Andante, K. 315.) 2 The concerto is scored for a standard orchestra of strings, oboes, and horns (flutes substitute for oboes in the central Adagio) and cast in the traditional three movements; its unassuming grace, imaginative workmanship, and expressive power, however, are customary only for Mozart.
Johann Baptist Wendling Wendling Guardi Sandhoff 1723 1797
Picture: Francesco Guardi - Venezia Johann Baptist Wendling ( 17 June 1723 in Ribeauvillé (Rappoltsweiler) - 27 November 1797 in Munich) Work: Flute Concerto in G-major, Op.4 Mov.I: Allegro 00:00 Mov.II: Adagio ma non troppo 06:40 Mov.III: Presto 11:06 Flute: Martin Sandhoff Orchestra: Neue Hofkapelle München Conductor / fortepiano: Christoph Hammer
Mozart Christian Cannabich Köchel Johann Baptist Wendling Wendling 1723 1731 1777 1778 1797 1798
The 6 arranged pieces from Cannabich's ballet are as follows: 1. Ouverture (0:00) 2. Moderato assai (1:10) 3. Allegro smanioso (3:00) 4. Andantino cantabile (4:21) 5. Allegretto (7:02) 6. Allegro molto vivace (9:34) During his stay in Mannheim between October 1777 and March 1778, Mozart was a guest of the Court Music Director Christian Cannabich +••.••(...)). In his letter of December 6, 1777, Mozart explains to his father how he intends to publish arrangements of Cannabich's ballet "Ulisse e Orphée". Köchel's entry 284e is actually referring to the wind parts that Mozart composed for one of the flute concertos of Mannheim's court flutist, Johann Baptist Wendling +••.••(...)). The arrangements of Cannabich's ballet are merely mentioned in the note to that entry. Performers: Les Adieux.
Johann Baptist Wendling Wendling Ogawa 1723 1797
Johann Baptist Wendling +••.••(...)) Terzetto in E flat Major for Flute, Violin and Cello #1. 00:00 #2. 5:18 #3. 8:27 Takashi Ogawa (Flute) Hoffmusic Mannheim I do not try to profit at all with these videos. I do not want to harm anyone. The composer, the publisher, or the corresponding persons can claim and dispose of their rights of execution at any time or request the elimination of this material. Yo no intento lucrar en absoluto con estos videos. No deseo perjudicar a nadie. El compositor, la editorial, o las personas correspondientes pueden reclamar y disponer de sus derechos de ejecución en cualquier momento o solicitar la eliminación de este material.
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