Mozart: Grabmusik & Bastien und Bastienne

Mozart: Grabmusik & Bastien und Bastienne
Classical Opera, Ian Page
Signum Classics, SIGCD547. 66’24

Mozart:<em>Grabmusik</em> and <em>Bastien und Bastienne</em> K.50; Classical Opera

This recording is almost certainly the first performance of Mozart’s original setting of Bastien und Bastienne since its original (and only) performance at the home of the person who commissioned it 250 years ago in 1768 – Dr Franz Mesmer, of mesmerism fame. The opening Grabmusik is also given in its original 1767 form, lacking a final recitative and chorus added in the 1770s. Both works are examples of Classical Opera and The Mozartists pioneering Mozart 250 project which, between 2015 and 2041, will explore the music that was written by Mozart and his contemporaries exactly 250 years earlier. Grabmusik & Bastien und Bastienne represent the years 1767/8, when Mozart was 11/12 years old. Continue reading

Haydn: Applausus

Haydn: Applausus: Jubilaeum Virtutis Palatium
The Mozartists, Ian Page
Cadogan Hall, 15 March 2018

In what was almost certainly the first live UK performance of Haydn’s Applausus Cantata (Jubilaeum Virtutis Palatium, Hob XXIVa:6), the Mozartists (the concert-performing wing of Classical Opera) opened the 2018 season of their ambitious Mozart 250 project. This started in 2015, the 250th anniversary of Mozart’s visit to London where, incidentally, he stayed not far from the Cadogan Hall in Ebury Street, and wrote his first symphony, aged 8. The aim is to annually explore the music written by Mozart and his contemporaries exactly 250 years previously.

IMG_20180315_174251159_HDR.jpg

In 1768, this year’s focus, Mozart was 12 years old and Haydn 36 and well settled into the princely Esterházy court where he directed most of the musical life of the court. He received an invitation from the wealthy Abbey of Zwettl, about 120km west-north-west of Vienna to write an ‘applausus‘ cantata to celebrate the 50th anniversary of their abbot Rainer Kollmann, first taking his monastic vows. Although composed in quasi-operatic style, with a series of accompanied recitative leading up to da capo arias, a duet, quartet and a final chorus, there is no plot in any operatic or literal sense. The four Cardinal Virtues of Temperance, Prudence, Justice and Fortitude sing the praises of the Abbot in a convoluted Latin libretto, probably written by one of the monks. A personification of Theology/Wisdom moderates some of their utterances. I am sure the text meant something to the 17th-century monks of Zwettl, but I found its vaguely moralistic meanderings completely incomprehensible. The repeated references to a ‘Palace’ perhaps reflected the wealth of the monks of Zwettl, whose medieval Abbey buildings had been thoroughly reconstructed in the Baroque style a few decades earlier, complete with one of the largest and most expensive organs in Austria (1731, Egedacher) – all still existing. “How blessed I am to be an inhabitant of this building!’ is one of Prudence’s utterings, to which Justice notes that “our Palace is celebrated in the eyes of the highest”. So that’s all right then! Continue reading

Mozart 250: 1768 – a retrospective

Mozart 250: 1768 – a retrospective
The Mozartists, Ian Page, Chiara Skerath
Wigmore Hall. 23 January 2018

Classical Opera’s ambitious ‘Mozart 250’ project is now in its fourth year. The project started in 2014, taking its title from the number of years since Mozart’s childhood visit to London (1764) when he composed his first significant works. The project aims to “follow the chronological trajectory of Mozart’s life, works and influences”, by performing annual concerts and operas based on the music composed 250 years earlier, culminating in 2041, the 250th anniversary of Mozart’s death. The Mozartists (the concert-performing wing of Classical Opera) opened the 2018 incarnation of the project with an insight into the music that was composed in 1768, the year that Mozart turned 12. It wasn’t a good year for him. It started with his recovery from smallpox and continued with rejection from the Viennese musical coterie, who prevented the production of Mozart’s first opera, La finta semplice. Classical Opera performed this later this year, as well as his Bastien und BastienneContinue reading

Classical Opera @ 20

Classical Opera 20th Birthday Concert
Orchestra and Choir of The Mozartists, Ian Page
The Barbican. 9 October 2017

Classical Opera was founded in 1997 and has carved out an important place in the musical world for its exploration of music of the classical era, in particular, Mozart. He is the inspiration for their ambitious Mozart 250 project, a chronological exploration of Mozart’s life, works and influences that each year will explore the music of Mozart and his contemporaries exactly 250 years previously. Now joined by a companion branding as The Mozartists, their name for increasing concert, rather than opera work, they celebrated their 20th birthday with a spectacular concert in London’s Barbican. The opening sequence of pieces, interspersed with reading, focussed on themes of “birth and rebirth, compassion and forgiveness, human inspiration and . . . what Beethoven and Schiller called brotherhood”.  Continue reading