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Wolfgang Amadeus Mozart (1756-1791)
Nationality:
Austrian
Born: January 27, 1756, Salzburg Died: December 5, 1791, Vienna (age 35)
Six Preludes and Fugues for String Trio, Op. 404a
(for violin, viola and cello)
| 5:29 | I. | Prelude I: Adagio | |
| 5:28 | II. | Fugue I (from Bach's Wohltemperierte Klavier I/8 BWV 853) | |
| 4:28 | III. | Prelude II. Adagio | |
| 5:37 | IV. | Fugue II (from Bach's Wohltemperierte Klavier II/14, BWV 883) | |
| 5:12 | V. | Prelude III. Adagio | |
| 4:40 | VI. | Fugue III (from Bach's Wohltemperierte Klavier II/13, BWV 882) | |
| 3:16 | VII. | Prelude IV (from Bach's Organsonata no.3, BWV 527) | |
| 6:56 | VIII. | Fugue IV (from Bach's Kunst der Fuge, BWV 1080, Contrapunctus 8) | |
| 3:50 | IX. | Prelude V (from Bach's Organsonata No.2, BWV 526) | |
| 5:08 | X. | Fugue V (from Bach's Organsonata No.2, BWV 526) | |
| 5:01 | XI. | Prelude VI. Adagio | |
| 3:45 | XII. | Fugue VI (from W.F.Bach's Fugue No.8) |
Duration: 46 minutes (approximately)
Composed:
1782 (age 25-26)
3 recordings,
14 videos
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4:28
Il Furibondo
I.
Prelude I: Adagio
6:14
Il Furibondo
II.
Fugue I (from Bach's Wohltemperierte Klavier I/8 BWV 853)
3:52
Il Furibondo
III.
Prelude II. Adagio
3:12
Il Furibondo
IV.
Fugue II (from Bach's Wohltemperierte Klavier II/14, BWV 883)
3:47
Il Furibondo
V.
Prelude III. Adagio
2:29
Il Furibondo
VI.
Fugue III (from Bach's Wohltemperierte Klavier II/13, BWV 882)
3:08
Il Furibondo
VII.
Prelude IV (from Bach's Organsonata no.3, BWV 527)
7:24
Il Furibondo
VIII.
Fugue IV (from Bach's Kunst der Fuge, BWV 1080, Contrapunctus 8)
3:52
Il Furibondo
IX.
Prelude V (from Bach's Organsonata No.2, BWV 526)
5:27
Il Furibondo
X.
Fugue V (from Bach's Organsonata No.2, BWV 526)
5:06
Il Furibondo
XI.
Prelude VI. Adagio
3:53
Il Furibondo
XII.
Fugue VI (from W.F.Bach's Fugue No.8)
40:21
Zebra Trio
43:35
Rémy Baudet, violin; Staas Swierstra, viola; Rainer Zipperling, cello
Related Composers
Leopold Mozart (1719-1787)
Father
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Born: November 14, 1719, Augsburg Died: May 28, 1787, Salzburg (age 67)
Franz Mozart (1791-1844)
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Nationality:
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Born: July 26, 1791, Vienna Died: July 29, 1844, Carlsbad (age 53)
Johann Hummel (1778-1837)
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Emanuel Aloys Förster (1748-1823)
Friend/Colleague
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Austrian
|
Bohemian
Born: January 26, 1748, Niederstaina Died: November 12, 1823, Vienna (age 75)
Paul Wranitzky (1756-1808)
Friend/Colleague
Nationality:
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|
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Born: December 30, 1756, Nová Říše, Moravia Died: September 29, 1808, Vienna (age 51)
Anton Eberl (1765-1807)
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Josef Fiala (1748-1816)
Friend/Colleague
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Joseph Eybler (1765-1846)
friend
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glossary
- adagio [It]—slow tempo, often implying a lyrical, poignant character
- chamber music, Kammermusik [G], musique de chambre [F], musica da camera [I], musica cameralis [L]—"Classical Music" for a small ensemble, generally 8 or fewer players with a canonical emphasis on 3-6 players. explore
- counterpoint, contrapuntal, contrapunctus [L], contrapuncti [pl], contrapunto [I]—A movement in a contrapuntal style, esp./specifically a fugue or canon and/or a general musical aspect. A complex notion and a deep subject, counterpoint generally refers to a musical texture comprising multiple, independent polyphonic melody lines (e.g. parts/voices/instruments) each moving horizontally, and the phenomenon of "point against point" combination into an ever-changing vertical blend. Contrapuntal music is conceived (and best heard) as a fabric of independent threads rather than a series of unified blocks such as "simple" melody and accompaniment or a series of harmonies. Chamber music, almost by definition, tends to be inherently contrapuntal and, in its best examples, supremely contrapuntal, among of its chief distinguishing traits.
- fugue, fuga, fuge [G], fuguette, fugen [G,pl]—a contrapuntal procedure (form) involving a musical subject (theme) that is successively imitated by multiple overlapping voices. There is a vast canon of rules (concepts) for creating elaborate and diverse fugues with an infinite variety of character based on fairly specific parameters. Fugues (or partial fugato) are found throughout classical music from the late Renaissance to the present.
- Kunst [G]—Art
- opus [L], opera[pl], Op., Opp, WoO, Op. posth—work, as in a work of art. For unique identification, publishers/composers often assign an "opus number", abbreviated as "Op." (e.g. Op. 1). A range of works by opus number, uses the plural "opp." (e.g. "Opp. 1-3"). A single opus number may refer to a collection of works (e.g. a set of quartets) giving rise to designations like "Op. 1, No. 4". For misc. works without opus numbers, "WoO" is often used (e.g."Without Opus"). Posthumously assigned numbers may use "Op. posth". Opus numbers may not precisely reflect chronology (publication vs. composition), can be erroneous, sparse or duplicative. Thus, the works of some historically important composers may use separate catalog numbers (e.g. Bach, Haydn, Schubert). See wiki
- prelude, prélude, präludium [G], präludien [G, pl], praeludium, preludio—a movement preceding another almost by way of introduction: to let listeners and players acclimate, often to prepare for greater demands ahead
- transcription, transcribe—To re-score a work for an ensemble of instruments different from the original version. Typical examples include orchestrating piano or chamber works and visa versa. Within the realm of chamber music, a work for winds might be transcribed for strings, a symphony into a string quartet, a trio featuring a clarinet substituting a viola. One interesting question is: who made the transcription, the original composer? One interesting effect is that the transcription may become favored over the original. One of the most curious transcriptions in all of chamber music is Schoenberg's "Verklärte Nacht", transcribed from string sextet to piano trio with amazing success by one of his students.