livret mozart demus 62

Mozart
Jörg Demus
Piano
Fantaisies en ut mineur KV 396 & 475
Concerto n° 8 KV 246 “Lützow-Konzert”
Collegium Aureum - dir. Jörg Demus
Concerto n°27 KV 595 - Kölner
Kammerorchester, dir. H. Müller-Brühl
Fantaisies en ut mineur KV 396 & 475
Concerto n° 8 KV 246 “Lützow-Konzert” Collegium Aureum - dir. Jörg Demus
Concerto n°27 KV 595 - Kölner Kammerorchester, dir. H. Müller-Brühl
1 Fantaisie en ut mineur KV 396* ............................................................................ 9’20
2 Fantasie en ut mineur 475* .................................................................................... 11’55
Concerto n° 8 KV 246 “Lützow-Konzert”**
3 Allegro aperto .................................................................................................................... 7’16
4 Andante ................................................................................................................................ 7’57
5 Rondeau:Tempo di Minuetto............................................................................................ 7’38
Collegium Aureum, Dir. Jörg Demus (Cadences de W.A. Mozart)
Concerto n°27 KV 595***
6 Allegro ................................................................................................................................ 13’38
7 Larghetto .............................................................................................................................. 7’06
8 Allegro .................................................................................................................................. 9’21
Kölner Kammerorchester, dir. Helmut Müller-Brühl (Cadences de W.A. Mozart)
Pastel de Robert Dyens (1930-2004) - d’après Georges de La Tour
www.saphirproductions.net
Mozart
Jörg Demus
Piano
Mozart
Jörg Demus
Piano
Fantaisies en ut mineur KV 396 & 475
Concerto n° 8 KV 246 “Lützow-Konzert”
Collegium Aureum - dir. Jörg Demus
Concerto n°27 KV 595
Kölner Kammerorchester, dir. H. Müller-Brühl
U
n préjugé solidement ancré voudrait que les concertos pour piano de
Mozart antérieurs au n° 9 en mi bémol majeur “Jeunehomme” ne présentent
guère d’intérêt, sinon aucun. Les quatre premiers ouvrages de cette catégorie (datés
de 1767) sont certes bâtis à partir d’un matériau emprunté à divers compositeurs
(dont le traitement mérite toutefois l’attention), mais à partir du Concerto n° 5, KV
175 Mozart se révèle étonnamment maître d’une forme qu’il ne cessera de cultiver
jusqu’à l’ultime Concerto n° 27 en si bémol majeur KV 595, achevé en 1791. Que
d’autorité et d’originalité déjà dans le KV 175 ! Daté de la fin 1773, ce dernier
prouve que l’heure de la grande synthèse des découvertes effectuées durant le
périple européen est venue. D’un caractère solidement affirmé, ce concerto allait
d’ailleurs longtemps demeurer cher au cœur de Mozart. A la majesté du n° 5
s’opposent la tendresse et la poésie du Concerto n° 6 KV 238 (1776) : un bel
hommage à un maître profondément admiré, Jean-Chrétien Bach. Composé lui
2
aussi en 1776 à l’intention de la comtesse Lodron ( la sœur du prince-archevêque
Colloredo) et de ses deux filles, le Concerto n° 7 pour trois pianos KV 242 pêche
par son manque de substance. Mozart fut en revanche plus stimulé par la commande
que lui passa la comtesse Lützow, à qui il destina le Concerto n° 8 en ut majeur,
KV 246. Après les Concertos nos 5 et 6, le sens des caractères de Mozart fait à
nouveau merveille dans une partition irrésistible de fraîcheur, d’allant et de verve.
Avril 1776 : à peine plus d’un an nous sépare de la première rupture de Mozart avec
Colloredo et de son départ pour Paris via Mannheim. Le besoin d’indépendance
de l’artiste se fait chaque jour un peu plus pressant et l’on perçoit cette impatience
dans une œuvre étonnante de maîtrise et de vie. Allegro aperto écrit Mozart en
tête d’un premier mouvement dont l’écriture brillante et virtuose prouve que
l’auteur s’adressait à une dédicataire d’un tout autre niveau technique que la comtesse
Lodron et ses filles. L’Andante médian manifeste dans son développement des
qualités expressives et un art de la modulation qui préparent au Concerto n° 9
composé l’année suivante. La fluidité du discours et la complicité entre le soliste
et l’orchestre sont parmi les qualités premières du Concerto n° 8 comme le
réaffirme le Tempo di minuetto conclusif, un rondo tout de contraste et d’alacrité.
Mozart n’en était toutefois là qu’au commencement de sa production pianistique et le clavier se fit souvent par la suite le confident d’inspirations parmi les
plus élevées, dans le domaine concertant comme dans celui du piano solo. Dès
1778, le musicien composa à Paris des ouvrages aussi important que la Sonate en
la mineur, KV 310 ou la Sonate en la majeur, KV 331. La rupture avec Colloredo
3
(Prince-Archbishop Colloredo’s sister) and her two daughters, Concerto No. 7 for
three pianos, K. 242 suffers from a certain lack of substance. Mozart was however
more stimulated by the commission from Countess Lützow, for whom he wrote the
Concerto No. 8 in C major, K. 246. After the Concertos Nos. 5 and 6, Mozart’s sense
of characters again works wonders in a score irresistible for its freshness, energy and
verve. April 1776: barely a year separates us from Mozart’s first break with Colloredo
and his departure for Paris via Mannheim. The artist’s need for independence was
becoming more urgent every day, and we perceive this impatience in a work of
surprising mastery and life. ‘Allegro aperto’ wrote Mozart at the top of a first movement whose brilliant, virtuoso writing proves that the composer was dealing with a
dedicatee possessing completely different technical means than Countess Lodron
and her daughters. In its development, the central Andante displays expressive
qualities and an art of modulation that prepares for the Concerto No. 9, composed
the following year. The fluidity of the discourse and the complicity between soloist
and orchestra are amongst the principal qualities of Concerto No. 8, as is reaffirmed
by the concluding Tempo di minuetto, a rondo full of contrasts and alacrity.
Yet Mozart was only at the beginnings of his piano production, and subsequently,
the keyboard would often be the confidant of some of his loftiest inspirations,
whether in the concertante domain or for solo instrument. As of 1778, in Paris, he
composed works as important as the Sonatas in A minor and A major, K. 310 and
331 respectively. The break with Colloredo in 1781 and his moving to Vienna
opened up a prosperous period for his piano writing. The artist had elected to make
8
a career in the Austrian capital above all to devote himself to opera there. Buoyed
with the success of Idomeneo in Munich in January 1781, he threw himself into the
composition of The Abduction from the Seraglio whose premiere in July 1782 unleashed the enthusiasm of the Viennese audience. But there is no great opera without a
great libretto, and he then had to wait patiently before finding the libretto of his
next important lyric creation: The Marriage of Figaro (first performed on
1 May 1786).
In the interim, frustrated at not being able to sufficiently express himself in the
theatre, Mozart entrusted the fruits of his dramatic genius to the piano in
particular. The ‘discovery’ of Johann Sebastian and Carl Philipp Emanuel Bach in
1782, thanks to Baron van Swieten, had tremendously enriched his language, and
a piece such as the Fantasy in C minor, K. 396 (1782-84) cultivates the spirit of
‘free fantasy’, of which C.P.E. Bach was fond, with surprising poetry and fever.
And what might be said about the Fantasy in C minor, K. 475…? Dated 20 May
1785, it thus follows hard on the heels of the dramatic Concerto No. 20 in D
minor, premiered in February. This ardent, impassioned confession, in which the
piano is exploited with orchestral effects, is better understood when one recalls the
dedication to Theresa von Trattner, a pupil very dear to the musician’s heart…
Amazingly concentrated between 1782 and 1786—Concertos Nos. 11-25 saw
the day during this short period!—, Mozart’s piano concerto production
subsequently fell off. It is true that the Viennese public turned away from his
music, and the economic situation was no longer propitious to the organisation
9
en 1781 et l’installation à Vienne ouvrit une période faste pour le piano
mozartien. L’artiste avait choisit de faire carrière dans la capitale autrichienne
avant tout pour s’y consacrer à l’opéra. Fort du succès d’Idoménée à Munich en
janvier 1781, il se lança dans la composition de L’Enlèvement au Sérail dont la
création en juillet 1782 déchaîna l’enthousiasme du public viennois. Pas de grand
opéra sans grand livret : il dut ensuite patienter avant de mettre la main sur le
livret de sa prochaine réalisation lyrique d’importance : Les Noces de Figaro (créées
le 1er mai 1786).
Frustré de ne pouvoir suffisamment s’exprimer au théâtre, Mozart, durant
l’intervalle, confia les fruits de son génie dramatique au piano en particulier. La
découverte de Jean-Sébastien et de Carl Philipp Emanuel Bach, effectuée grâce au
baron van Swieten en 1782, avait grandement enrichi son langage et une pièce
telle que la Fantaisie en ut mineur KV 396 (1782-1784) cultive l’esprit de la “libre
fantaisie” chère à CPE Bach avec une poésie et une fièvre étonnantes. Et que dire
de la Fantaisie en ut mineur, KV 475… Datée du 20 mai 1785, elle suit donc de
près le dramatique Concerto n° 20 en ré mineur créé en février. Cette confession
ardente, passionnée où le piano est exploité avec des effets orchestraux se comprend
mieux lorsque l’on se souvient de la dédicace à Theresa von Trattner - une élève
très chère au cœur du musicien…
Étonnamment concentrée entre 1782 et 1786 (les Concertos nos 11 à 25 naquirent
durant cette courte période !), la production concertante pour piano de Mozart se
relâcha par la suite. Le public viennois se détournait il est vrai de sa musique et le
climat économique n’était plus propice à l’organisation des académies pour
lesquelles Mozart avait jusqu’alors composé nombre de concertos dont il assurait
lui-même la création. 1788 vit naître le Concerto n° 26 “du Couronnement” et
l’auteur attendit janvier 1791 pour terminer le Concerto n° 27 en si bémol majeur,
KV 595. L’ouvrage résume l’esprit de l’ultime année de l’artiste avec une écriture
épurée qui, quelques mois plus tard, singularisera tout autant le Concerto pour
clarinette, KV 622. La virtuosité n’est plus de mise. Que de transparence dans
l’Allegro initial où soliste et orchestre fusionnent dans une ineffable poésie ! Le
Larghetto central mêle noblesse, tendresse et sérénité avant que n’éclate la joie de
l’Allegro final.
Le climat du Concerto n° 27 peut surprendre de la part d’un artiste confronté
à bien des difficultés à l’orée de l’ultime année 1791. Souvenons-nous de la lettre
à son père (4 avril 1787) où Mozart avouait s’être familiarisé avec la mort “cette
véritable et parfaite amie de l’homme”. “Son image, non seulement n’a plus rien
d’effrayant pour moi, mais m’est très apaisante, très consolante, poursuivait-il”. Et
je remercie mon Dieu de m’avoir accordé le bonheur de saisir l’occasion (…)
d’apprendre à le connaître comme la “clef ” de notre vraie félicité… "
4
5
ALAIN COCHARD
en 1781 et l’installation à Vienne ouvrit une période faste pour le piano
mozartien. L’artiste avait choisit de faire carrière dans la capitale autrichienne
avant tout pour s’y consacrer à l’opéra. Fort du succès d’Idoménée à Munich en
janvier 1781, il se lança dans la composition de L’Enlèvement au Sérail dont la
création en juillet 1782 déchaîna l’enthousiasme du public viennois. Pas de grand
opéra sans grand livret : il dut ensuite patienter avant de mettre la main sur le
livret de sa prochaine réalisation lyrique d’importance : Les Noces de Figaro (créées
le 1er mai 1786).
Frustré de ne pouvoir suffisamment s’exprimer au théâtre, Mozart, durant
l’intervalle, confia les fruits de son génie dramatique au piano en particulier. La
découverte de Jean-Sébastien et de Carl Philipp Emanuel Bach, effectuée grâce au
baron van Swieten en 1782, avait grandement enrichi son langage et une pièce
telle que la Fantaisie en ut mineur KV 396 (1782-1784) cultive l’esprit de la “libre
fantaisie” chère à CPE Bach avec une poésie et une fièvre étonnantes. Et que dire
de la Fantaisie en ut mineur, KV 475… Datée du 20 mai 1785, elle suit donc de
près le dramatique Concerto n° 20 en ré mineur créé en février. Cette confession
ardente, passionnée où le piano est exploité avec des effets orchestraux se comprend
mieux lorsque l’on se souvient de la dédicace à Theresa von Trattner - une élève
très chère au cœur du musicien…
Étonnamment concentrée entre 1782 et 1786 (les Concertos nos 11 à 25 naquirent
durant cette courte période !), la production concertante pour piano de Mozart se
relâcha par la suite. Le public viennois se détournait il est vrai de sa musique et le
climat économique n’était plus propice à l’organisation des académies pour
lesquelles Mozart avait jusqu’alors composé nombre de concertos dont il assurait
lui-même la création. 1788 vit naître le Concerto n° 26 “du Couronnement” et
l’auteur attendit janvier 1791 pour terminer le Concerto n° 27 en si bémol majeur,
KV 595. L’ouvrage résume l’esprit de l’ultime année de l’artiste avec une écriture
épurée qui, quelques mois plus tard, singularisera tout autant le Concerto pour
clarinette, KV 622. La virtuosité n’est plus de mise. Que de transparence dans
l’Allegro initial où soliste et orchestre fusionnent dans une ineffable poésie ! Le
Larghetto central mêle noblesse, tendresse et sérénité avant que n’éclate la joie de
l’Allegro final.
Le climat du Concerto n° 27 peut surprendre de la part d’un artiste confronté
à bien des difficultés à l’orée de l’ultime année 1791. Souvenons-nous de la lettre
à son père (4 avril 1787) où Mozart avouait s’être familiarisé avec la mort “cette
véritable et parfaite amie de l’homme”. “Son image, non seulement n’a plus rien
d’effrayant pour moi, mais m’est très apaisante, très consolante, poursuivait-il”. Et
je remercie mon Dieu de m’avoir accordé le bonheur de saisir l’occasion (…)
d’apprendre à le connaître comme la “clef ” de notre vraie félicité… "
4
5
ALAIN COCHARD
JÖRG DEMUS Piano
Jörg Demus, pianiste et compositeur, est né à St Polten
en Basse Autriche en 1928. En plus de l'université
classique il étudie le piano avec Walter Kerschbaumer,
l'orgue avec Karl Walter, la direction avec Hans
Swarowsky et Joseph Krips et la composition avec Joseph
Marx. Après avoir poursuivi ces études à Vienne, il partit
à l'étranger pour étudier aux côtés de Yves Nat à Paris,
puis avec Walter Gieseking à Saarbrücken puis avec
Wilhem Kempff, Edwin Fischer et Arturo Benedetti-Michelangeli. En 1950, il donne
ses premiers concerts à Zürich et Londres et en 1951 il part pour une première
tournée en Amérique du Sud. Ses débuts à Paris en 1953 à la salle Gaveau font
sensation. Le critique, Clarendon, écrit un article titré “Jörg Demus joue et gagne”.
Depuis, Jörg Demus a joué dans tous les lieux importants de la musique de l'Ancien
et du Nouveau Monde. Il a souvent été dirigé par Herbert von Karajan, Joseph Krips,
Seijo Ozawa et beaucoup d'auteurs chefs d'orchestre du même gabarit. Beaucoup de
ses enregistrements ont été salués par des prix internationaux. Jusqu'à aujourd'hui a
réussi à réaliser plus de 350 enregistrements sonores ou audiovisuels. Plusieurs de ses
enregistrements ont été inspirés par sa passion à retrouver d'anciens et historiques
claviers. Enfin Jörg Demus compose également des sonates pour violon et piano,
violoncelle et piano, pièces pour trio, pour piano solo et des chansons ont été crées
également.
6
Mozart
Jörg Demus
Piano
Fantasies ut mineur KV 396 & 475
Concerto n° 8 KV 246 “Lützow-Konzert”
Collegium Aureum - dir. Jörg Demus
Concerto n°27 KV 595
Kölner Kammerorchester, dir. H. Müller-Brühl
A
stubborn prejudice would have us believe that the piano concertos Mozart
wrote prior to No. 9 in E flat major ‘Jeunehomme’ are of little or no interest.
Certainly, the first four works in this genre (dating from 1767) are built from
material borrowed from various composers (the treatment of which is nonetheless
worthy of attention), but beginning with Concerto No. 5, K. 175, Mozart turns out
to master amazingly well a form that he continued to cultivate up until the final
Concerto No. 27 in B flat major, K. 595, completed in 1791.
Such authority and originality are already to be found in K. 175! Dated the end
of 1773, it proves that the time for the great synthesis of discoveries made during
the European journey has come. Moreover, this solidly asserted concerto would long
remain dear to Mozart’s heart. The majesty of the Fifth contrasts with the tenderness
and poetry of Concerto No. 6, K. 238 (1776), a fine tribute to a profoundly admired
master, Johann Christian Bach. Also composed in 1776, for Countess Lodron
7
JÖRG DEMUS Piano
Jörg Demus, pianiste et compositeur, est né à St Polten
en Basse Autriche en 1928. En plus de l'université
classique il étudie le piano avec Walter Kerschbaumer,
l'orgue avec Karl Walter, la direction avec Hans
Swarowsky et Joseph Krips et la composition avec Joseph
Marx. Après avoir poursuivi ces études à Vienne, il partit
à l'étranger pour étudier aux côtés de Yves Nat à Paris,
puis avec Walter Gieseking à Saarbrücken puis avec
Wilhem Kempff, Edwin Fischer et Arturo Benedetti-Michelangeli. En 1950, il donne
ses premiers concerts à Zürich et Londres et en 1951 il part pour une première
tournée en Amérique du Sud. Ses débuts à Paris en 1953 à la salle Gaveau font
sensation. Le critique, Clarendon, écrit un article titré “Jörg Demus joue et gagne”.
Depuis, Jörg Demus a joué dans tous les lieux importants de la musique de l'Ancien
et du Nouveau Monde. Il a souvent été dirigé par Herbert von Karajan, Joseph Krips,
Seijo Ozawa et beaucoup d'auteurs chefs d'orchestre du même gabarit. Beaucoup de
ses enregistrements ont été salués par des prix internationaux. Jusqu'à aujourd'hui a
réussi à réaliser plus de 350 enregistrements sonores ou audiovisuels. Plusieurs de ses
enregistrements ont été inspirés par sa passion à retrouver d'anciens et historiques
claviers. Enfin Jörg Demus compose également des sonates pour violon et piano,
violoncelle et piano, pièces pour trio, pour piano solo et des chansons ont été crées
également.
6
Mozart
Jörg Demus
Piano
Fantasies ut mineur KV 396 & 475
Concerto n° 8 KV 246 “Lützow-Konzert”
Collegium Aureum - dir. Jörg Demus
Concerto n°27 KV 595
Kölner Kammerorchester, dir. H. Müller-Brühl
A
stubborn prejudice would have us believe that the piano concertos Mozart
wrote prior to No. 9 in E flat major ‘Jeunehomme’ are of little or no interest.
Certainly, the first four works in this genre (dating from 1767) are built from
material borrowed from various composers (the treatment of which is nonetheless
worthy of attention), but beginning with Concerto No. 5, K. 175, Mozart turns out
to master amazingly well a form that he continued to cultivate up until the final
Concerto No. 27 in B flat major, K. 595, completed in 1791.
Such authority and originality are already to be found in K. 175! Dated the end
of 1773, it proves that the time for the great synthesis of discoveries made during
the European journey has come. Moreover, this solidly asserted concerto would long
remain dear to Mozart’s heart. The majesty of the Fifth contrasts with the tenderness
and poetry of Concerto No. 6, K. 238 (1776), a fine tribute to a profoundly admired
master, Johann Christian Bach. Also composed in 1776, for Countess Lodron
7
(Prince-Archbishop Colloredo’s sister) and her two daughters, Concerto No. 7 for
three pianos, K. 242 suffers from a certain lack of substance. Mozart was however
more stimulated by the commission from Countess Lützow, for whom he wrote the
Concerto No. 8 in C major, K. 246. After the Concertos Nos. 5 and 6, Mozart’s sense
of characters again works wonders in a score irresistible for its freshness, energy and
verve. April 1776: barely a year separates us from Mozart’s first break with Colloredo
and his departure for Paris via Mannheim. The artist’s need for independence was
becoming more urgent every day, and we perceive this impatience in a work of
surprising mastery and life. ‘Allegro aperto’ wrote Mozart at the top of a first movement whose brilliant, virtuoso writing proves that the composer was dealing with a
dedicatee possessing completely different technical means than Countess Lodron
and her daughters. In its development, the central Andante displays expressive
qualities and an art of modulation that prepares for the Concerto No. 9, composed
the following year. The fluidity of the discourse and the complicity between soloist
and orchestra are amongst the principal qualities of Concerto No. 8, as is reaffirmed
by the concluding Tempo di minuetto, a rondo full of contrasts and alacrity.
Yet Mozart was only at the beginnings of his piano production, and subsequently,
the keyboard would often be the confidant of some of his loftiest inspirations,
whether in the concertante domain or for solo instrument. As of 1778, in Paris, he
composed works as important as the Sonatas in A minor and A major, K. 310 and
331 respectively. The break with Colloredo in 1781 and his moving to Vienna
opened up a prosperous period for his piano writing. The artist had elected to make
8
a career in the Austrian capital above all to devote himself to opera there. Buoyed
with the success of Idomeneo in Munich in January 1781, he threw himself into the
composition of The Abduction from the Seraglio whose premiere in July 1782 unleashed the enthusiasm of the Viennese audience. But there is no great opera without a
great libretto, and he then had to wait patiently before finding the libretto of his
next important lyric creation: The Marriage of Figaro (first performed on
1 May 1786).
In the interim, frustrated at not being able to sufficiently express himself in the
theatre, Mozart entrusted the fruits of his dramatic genius to the piano in
particular. The ‘discovery’ of Johann Sebastian and Carl Philipp Emanuel Bach in
1782, thanks to Baron van Swieten, had tremendously enriched his language, and
a piece such as the Fantasy in C minor, K. 396 (1782-84) cultivates the spirit of
‘free fantasy’, of which C.P.E. Bach was fond, with surprising poetry and fever.
And what might be said about the Fantasy in C minor, K. 475…? Dated 20 May
1785, it thus follows hard on the heels of the dramatic Concerto No. 20 in D
minor, premiered in February. This ardent, impassioned confession, in which the
piano is exploited with orchestral effects, is better understood when one recalls the
dedication to Theresa von Trattner, a pupil very dear to the musician’s heart…
Amazingly concentrated between 1782 and 1786—Concertos Nos. 11-25 saw
the day during this short period!—, Mozart’s piano concerto production
subsequently fell off. It is true that the Viennese public turned away from his
music, and the economic situation was no longer propitious to the organisation
9
(Prince-Archbishop Colloredo’s sister) and her two daughters, Concerto No. 7 for
three pianos, K. 242 suffers from a certain lack of substance. Mozart was however
more stimulated by the commission from Countess Lützow, for whom he wrote the
Concerto No. 8 in C major, K. 246. After the Concertos Nos. 5 and 6, Mozart’s sense
of characters again works wonders in a score irresistible for its freshness, energy and
verve. April 1776: barely a year separates us from Mozart’s first break with Colloredo
and his departure for Paris via Mannheim. The artist’s need for independence was
becoming more urgent every day, and we perceive this impatience in a work of
surprising mastery and life. ‘Allegro aperto’ wrote Mozart at the top of a first movement whose brilliant, virtuoso writing proves that the composer was dealing with a
dedicatee possessing completely different technical means than Countess Lodron
and her daughters. In its development, the central Andante displays expressive
qualities and an art of modulation that prepares for the Concerto No. 9, composed
the following year. The fluidity of the discourse and the complicity between soloist
and orchestra are amongst the principal qualities of Concerto No. 8, as is reaffirmed
by the concluding Tempo di minuetto, a rondo full of contrasts and alacrity.
Yet Mozart was only at the beginnings of his piano production, and subsequently,
the keyboard would often be the confidant of some of his loftiest inspirations,
whether in the concertante domain or for solo instrument. As of 1778, in Paris, he
composed works as important as the Sonatas in A minor and A major, K. 310 and
331 respectively. The break with Colloredo in 1781 and his moving to Vienna
opened up a prosperous period for his piano writing. The artist had elected to make
8
a career in the Austrian capital above all to devote himself to opera there. Buoyed
with the success of Idomeneo in Munich in January 1781, he threw himself into the
composition of The Abduction from the Seraglio whose premiere in July 1782 unleashed the enthusiasm of the Viennese audience. But there is no great opera without a
great libretto, and he then had to wait patiently before finding the libretto of his
next important lyric creation: The Marriage of Figaro (first performed on
1 May 1786).
In the interim, frustrated at not being able to sufficiently express himself in the
theatre, Mozart entrusted the fruits of his dramatic genius to the piano in
particular. The ‘discovery’ of Johann Sebastian and Carl Philipp Emanuel Bach in
1782, thanks to Baron van Swieten, had tremendously enriched his language, and
a piece such as the Fantasy in C minor, K. 396 (1782-84) cultivates the spirit of
‘free fantasy’, of which C.P.E. Bach was fond, with surprising poetry and fever.
And what might be said about the Fantasy in C minor, K. 475…? Dated 20 May
1785, it thus follows hard on the heels of the dramatic Concerto No. 20 in D
minor, premiered in February. This ardent, impassioned confession, in which the
piano is exploited with orchestral effects, is better understood when one recalls the
dedication to Theresa von Trattner, a pupil very dear to the musician’s heart…
Amazingly concentrated between 1782 and 1786—Concertos Nos. 11-25 saw
the day during this short period!—, Mozart’s piano concerto production
subsequently fell off. It is true that the Viennese public turned away from his
music, and the economic situation was no longer propitious to the organisation
9
of academies for which Mozart had heretofore composed a number of concertos,
giving the first performances himself. 1788 saw the birth of the ‘Coronation’ Concerto
(No. 26), whereas the composer did not complete the Concerto No. 27 in B
flat major, K. 595 until January 1791. The work sums up the spirit of the artist’s last
year with the stripped-down writing, which, a few months later, would equally
singularise the Clarinet Concerto, K. 622. Virtuosity is no longer the order of the
day—only transparency in the opening Allegro where soloist and orchestra blend in
ineffable poetry. The central Larghetto combines nobility, tenderness and serenity
before the joyful outburst of the final Allegro.
The mood of Concerto No. 27 may come as a surprise given the myriad difficulties
with which Mozart found himself confronted on the eve of his final year, 1791. Let
us remember the letter to his father (4 April 1787) in which he confessed to having
become accustomed to death, ‘this veritable and perfect friend of man […] Not only
is its image no longer frightening to me but is quite soothing, quite consoling.
And I thank my God for having granted me the good fortune of seizing the
opportunity […] to learn to recognize it as the “key” to our true felicity…’
ALAIN COCHARD
Translated by John Tyler Tuttle
10
JÖRG DEMUS Piano
Jörg Demus, pianist and composer was born in St.
Pölten, Lower Austria in 1928.
Besides the regular Highschool he studied piano with
Walter Kerschbaumer, organ with Karl Walter, conducting
with Hans Swarowsky and Josef Krips and composition
with Joseph Marx. After completing these studies in
Vienna, he went abroad to study with Yves Nat in Paris,
then with Walter Gieseking in Saarbrücken, later with
Wilhem Kempff, Edwin Fischer and Arturo Benedetti-Michelangeli. In 1950 he gave
first concerts in Zürich and London and in 1951 he went on his first extended tour
to South America. His 1953 debut in Paris at Salle Gaveau turned into a regular /
’sensation. The star critic, Clarendon, wrote an enthusiastic review under the title /
‘Jörg Demus plays and wins’". Since that time, Jörg Demus has performed in all
important music centres of Old and New World. He played often under the baton
of Herbert von Karajan, Josef Krips, Seiji Ozawa and many others. Many of his recordings
have won international awards. Up to now Jörg Demus has recorded a catalogue of
more than 350 LP’s, Compact Discs and video recordings. Several Jörg Demus recordings
were inspired by his passion of collecting old historic keyboard instruments.
Jörg Demus also composes sonatas for violin and piano, cello and piano trios pieces
for piano solo and several songs have been created.
11
of academies for which Mozart had heretofore composed a number of concertos,
giving the first performances himself. 1788 saw the birth of the ‘Coronation’ Concerto
(No. 26), whereas the composer did not complete the Concerto No. 27 in B
flat major, K. 595 until January 1791. The work sums up the spirit of the artist’s last
year with the stripped-down writing, which, a few months later, would equally
singularise the Clarinet Concerto, K. 622. Virtuosity is no longer the order of the
day—only transparency in the opening Allegro where soloist and orchestra blend in
ineffable poetry. The central Larghetto combines nobility, tenderness and serenity
before the joyful outburst of the final Allegro.
The mood of Concerto No. 27 may come as a surprise given the myriad difficulties
with which Mozart found himself confronted on the eve of his final year, 1791. Let
us remember the letter to his father (4 April 1787) in which he confessed to having
become accustomed to death, ‘this veritable and perfect friend of man […] Not only
is its image no longer frightening to me but is quite soothing, quite consoling.
And I thank my God for having granted me the good fortune of seizing the
opportunity […] to learn to recognize it as the “key” to our true felicity…’
ALAIN COCHARD
Translated by John Tyler Tuttle
10
JÖRG DEMUS Piano
Jörg Demus, pianist and composer was born in St.
Pölten, Lower Austria in 1928.
Besides the regular Highschool he studied piano with
Walter Kerschbaumer, organ with Karl Walter, conducting
with Hans Swarowsky and Josef Krips and composition
with Joseph Marx. After completing these studies in
Vienna, he went abroad to study with Yves Nat in Paris,
then with Walter Gieseking in Saarbrücken, later with
Wilhem Kempff, Edwin Fischer and Arturo Benedetti-Michelangeli. In 1950 he gave
first concerts in Zürich and London and in 1951 he went on his first extended tour
to South America. His 1953 debut in Paris at Salle Gaveau turned into a regular /
’sensation. The star critic, Clarendon, wrote an enthusiastic review under the title /
‘Jörg Demus plays and wins’". Since that time, Jörg Demus has performed in all
important music centres of Old and New World. He played often under the baton
of Herbert von Karajan, Josef Krips, Seiji Ozawa and many others. Many of his recordings
have won international awards. Up to now Jörg Demus has recorded a catalogue of
more than 350 LP’s, Compact Discs and video recordings. Several Jörg Demus recordings
were inspired by his passion of collecting old historic keyboard instruments.
Jörg Demus also composes sonatas for violin and piano, cello and piano trios pieces
for piano solo and several songs have been created.
11
Mozart
Jörg Demus
Piano
Fantaisies en ut mineur KV 396 & 475
Concerto n° 8 KV 246 “Lützow-Konzert”
Collegium Aureum - dir. Jörg Demus
Concerto n°27 KV 595 - Kölner
Kammerorchester, dir. H. Müller-Brühl
Fantaisies en ut mineur KV 396 & 475
Concerto n° 8 KV 246 “Lützow-Konzert” Collegium Aureum - dir. Jörg Demus
Concerto n°27 KV 595 - Kölner Kammerorchester, dir. H. Müller-Brühl
1 Fantaisie en ut mineur KV 396* ............................................................................ 9’20
2 Fantasie en ut mineur 475* .................................................................................... 11’55
Concerto n° 8 KV 246 “Lützow-Konzert”**
3 Allegro aperto .................................................................................................................... 7’16
4 Andante ................................................................................................................................ 7’57
5 Rondeau:Tempo di Minuetto............................................................................................ 7’38
Collegium Aureum, Dir. Jörg Demus (Cadences de W.A. Mozart)
Concerto n°27 KV 595***
6 Allegro ................................................................................................................................ 13’38
7 Larghetto .............................................................................................................................. 7’06
8 Allegro .................................................................................................................................. 9’21
Kölner Kammerorchester, dir. Helmut Müller-Brühl (Cadences de W.A. Mozart)
Pastel de Robert Dyens (1930-2004) - d’après Georges de La Tour
www.saphirproductions.net
Mozart
Jörg Demus
Piano