WOLFGANG AMADEUS MOZART (1756-1791)
沃尔夫冈·阿玛多伊斯·莫扎特
MOZART Serenades
莫扎特小夜曲
KARL BÖHM
卡尔·伯姆
CD I
Eine kleine Nachtmusik K.525 弦乐小夜曲[19'29]
1.Allegro[6'14]
2.Romance: Andante[5'56]
3. Menuetto: Allegretto[2'23]
4.Rondo: Allegro [4'56]
Wiener Philharmoniker
Serenata notturna K.239 月下小夜曲[12'33]
1.Marcia: Maestoso[419]
2.Menuctto [3'57]
3.Randeau: Allegretto[4'17]
Leon Spierer .Emil Maas, violins I/1l
Heinz Kirchner, viola/alto
Rainer Zepperitz, double bass
Berliner Philharmoniker
"Posthorn" Serenade K.320 邮车号角小夜曲[41'04]
1.Adagio msestoso-Allegro con spirito[8'19]
2.Menuetto: Allegretto[4'22]
3.Concertante: Andante grazioso [7'48]
4.Rondear Allegro ma non troppo [6'12]
5.Andamino [5'14]
6. Menuctto [4'58]
7.Finale: Presto [4'11]
James Galway, flute
Lothar Koch, oboe
Horst Eichler, posthorn
Berliner Philharmoniker
CD 2
“Haffner” SerenadeK.250(248b) 哈夫纳小夜曲[58'50]
1.Allegro maestoso -Allegro molto[6'44]
2.Andante [11'03]
3.Menuetto [4`35]
4.Rondeau: Allegro [8'08]
5.Mcnuetto galante [6'15]
6.Andante [7'41]
7.Menuetto [5'46]
8.Adagio-Allegro assai [8'38]
Cadenzas in movements 2 and 4 prepared by:
Thomas Brandis
Thomas Brandis, solo violin
Berliner Philharmoniker
唱片封套故事简译
Mozart's most famous work was actually composed for string quartet and double bass, though its style and layout are equally well suited to string orchestra. The circumstances sur- rounding the composition of this “Little Night Music" are obscure. All we do know is that it was completed on 10 August 1787, while Mozart was at work on Don Giovanni, and that it originally contained two minuets, though whether the second minuet was destroyed by Mozart or lost is un- certain.
The melodic invention of Eine kleine Nachtmusik has a luminous grace and clarity which, allied to a beautiful balance and concision of form, make a direct appeal even on the casual listener. One subtle detail in the opening Allegro is the brief but telling expansion of the exposition's tiny cadence theme at the close of the movement. The C minor central section of the Romance temporarily introduces a darker note, with its violin and cello dialogue against agitated inner voices. Both the Landler trio of the Minuet and the theme of the final Rondo have a folklike simplicity characteristic of Mozart's late style. The treatment of the Rondo theme's first two bars is deft and witty, with delicious sudden switches of key.
The “Posthorn" Serenade, so called because of the corno di posta solo in the second minuet,
dates from the summer of 1779, some six months after Mozart's return to Salzburg from his Mannheim-Paris journey. It is the last of the series of serenades and divertimenti that Mozart wrote for Salzburg and, like some of its predecessors, was probably composed for celebrations marking the end of the university year. Most of Mozart's Salz- burg serenades are in six or more movements, with two minuets; in the “Posthorn" Serenade Mozart also includes two movements (nos. 3 and4) with elaborate concertante writing for flutes, oboes and bassoons.
The outer movement and the two minuets, with their prominent trumpets and drums, display the festive grandeur typical of Mozart's earlier D major serenades. Yet the first, in particular, is imbued with a new breadth and weight, and an orchestral finesse that reflects Mozart's experience of the large, highly accomplished orchestras in Mannheim and Paris. The tuttis have a superbly expansive sweep and there are long, exciting “Mannheim” crescendi, complete with timpani rolls. The buoyant finale, too, is richer and more subtle than comparable earlier movements, with delightful woodwind colouring and a touch of contrapuntal ingenuity in the central development. In each of the minuets (the second and sixth movements) the trios introduce a new tone- colour. That in the first minuet features the flute, hitherto silent in the work; of the two trios in the sixth movement the first is scored. unusually, for piccolo and strings, while the second contains the posthorn solo.
Both the concertante movements, in G major, re- veal Mozart at his most urbane and relaxed, relishing the enchanting sonorities conjured from strings and wind. The Andante grazioso, whose occasional yearning chromatic progression sets off the mellifluous thirds and sixths elsewhere, contains a cadenza for wind alone, while the following Rondeau, with its airy solos for flute and oboe, has a decidedly Gallic elegance. All the more striking by contrast is the veiled opening of the D minor Andantino, scored for strings alone in their darkest register. The broken phrases, restless syncopations and disquieting harmonic intensity of this movement, extraordinary in the context of a serenade, foreshadow the Andante of the Sinfonia Concertante for violin and viola composed shortly afterwards.
Richard Wigmore
莫扎特最有名的作品实际上是为弦乐四重奏和低音提琴而创作的，虽然它的风格和布局同样适合弦乐团演奏。这首《小夜曲》的创作背景模糊不清。我们只知道它完成于 1787 年 8 月 10 日，当时莫扎特正在创作《唐璜》，它最初包含两首小步舞曲，但第二首小步舞曲是被莫扎特毁掉了还是遗失了还不确定。
《Eine kleine Nachtmusik》G大调弦乐小夜曲的旋律优雅明快，配以优美的平衡和简洁的形式，甚至对普通听众也有直接的吸引力。开头的快板有一个微妙的细节，那就是在乐章的结尾处，对展开部的小快板主题进行了简短而又有说服力的扩展。浪漫曲的 C 小调中段暂时引入了一个暗音符，小提琴和大提琴的对话与激动的内心声音相呼应。小步舞曲的兰德勒三部曲和最后的回旋曲主题都具有莫扎特晚期风格所特有的民谣般的朴素。回旋曲主题前两小节的处理灵巧而诙谐，突然的调性转换令人赏心悦目。
邮车号角小夜曲，因第二小步舞曲中的邮车号独奏而得名，这首小夜曲创作于 1779 年夏天，也就是莫扎特结束曼海姆-巴黎之行返回萨尔茨堡约六个月后。它是莫扎特为萨尔茨堡创作的一系列小夜曲和小品中的最后一首，与之前的一些作品一样，可能是为庆祝大学学年结束而创作的。莫扎特的大多数萨尔茨堡小夜曲都有六个或更多乐章，其中包括两个小步舞曲；在 "邮车号角 "小夜曲中，莫扎特还为长笛、双簧管和巴松管精心创作了两个乐章（第 3 和第 4 号）的协奏曲。
外围乐章和两首小步舞曲的小号和鼓声十分突出，展现出莫扎特早期 D 大调小夜曲所特有的欢庆华丽。然而，尤其是第一乐章，它被赋予了新的广度和重量，以及管弦乐的细腻，这反映了莫扎特在曼海姆和巴黎的大型管弦乐团中的经验。小提示具有极好的扩展性，还有长而激动人心的 "曼海姆 "渐强，并伴有定音鼓滚奏。尾声也比之前的乐章更加丰富和细腻，木管乐器的色彩令人愉悦，中央发展部的伴奏也颇具匠心。在每首小步舞曲（第二和第六乐章）中，三重奏都引入了一种新的音色。第一小步舞曲中的长笛在作品中一直保持沉默；在第六乐章的两个三重奏中，第一个是短笛和弦乐三重奏，而第二个则包含了邮车号独奏。
两个协奏曲乐章均为 G 大调，再现了莫扎特最优雅、最放松的一面，他对弦乐和管乐带来的迷人音色乐此不疲。轻快的前奏曲中，偶尔出现的半音进行衬托出其他乐章中婉转的三度和六度，其中包含一段管乐独奏的快板，而接下来的回旋曲中长笛和双簧管的空灵独奏，则带有明显的高卢式优雅。与之形成鲜明对比的是 D 小调小行板的隐秘开场，由弦乐独奏，音域最暗。这个乐章的断句、不安分的切分音和令人不安的和声强度，在小夜曲的背景下显得非同寻常，预示着不久之后为小提琴和中提琴创作的协奏曲中的行板乐章。
理查德-维格摩尔
The Serenata notturna was composed in 1776, during Mozart's somewhat uneasy years of employment in the archi-episcopal court of his native Salzburg. He reached his 20th birthday at almost exactly the date of this piece (in the same month of January) but nevertheless was already an experienced composer, so there was nothing merely experimental about his choice of instrumental layout, unusual though it is a sola quartet of two violins, viola and double bass set against an orchestral string group without double basses but with timpani. The effect, no doubt intentionally, is like that of the concertino and ripieno instrumental grouping of a Baroque concerto grosso such as Bach might have written, and the slightly pompous March with which the music begins strengthens this impression. The Minuet that follows is perhaps more rustic than usual with Mozart; its trio section features triplets and is for the solo quartet alone. The finale is a fairly extended Rondo in which, once again, the idiom is rather more broadly “country style" than is common with this composer. One curiously laid-out passage towards the end has the orchestral violins quietly playing a marchlike tune with the accompaniment provided by the four solo instruments.
Christopher Headington
《月下小夜曲》创作于 1776 年，当时莫扎特在家乡萨尔茨堡的大主教宫廷工作，日子过得有些不安。在创作这首曲子时，他几乎正好年满 20 岁（同年 1 月），但当时他已经是一位经验丰富的作曲家，因此他选择的乐器布局并不只是实验性的，尽管它是由两把小提琴、中提琴和低音提琴组成的独奏四重奏，与没有低音提琴但有定音鼓的管弦乐组相映成趣。这种效果无疑是有意为之，就像巴洛克大协奏曲中的协奏曲和里皮埃诺乐器组合，比如巴赫可能写过的协奏曲，而音乐开头略显浮夸的进行曲则加深了这种印象。随后的小步舞曲也许比莫扎特通常的作品更加质朴；其三重奏部分采用了三连音，仅由四重奏独奏。终曲是一首相当长的回旋曲，其中的惯用曲式又一次比这位作曲家常见的 "乡村风格 "更为宽泛。结尾处有一个奇特的段落，管弦乐队的小提琴在四件独奏乐器的伴奏下，静静地演奏着进行曲般的曲调。
克里斯托弗-希丁顿
后记：
此张唱片购置于九十年代末。曾经聆听这些华丽辉煌的小夜曲，可以满足一个孩子对于欧洲灿烂文艺的所有想象。一直到06年第一次欧洲行，在奥地利终于亲眼见证了自己在音乐中的神往之地。萨尔茨堡和维也纳的风光建筑就如同莫扎特音乐的写实，令人赞叹不已！
愿莫扎特的音乐在冬日里给大家带去温暖！
