One of the most grown-up review sites around

2019
51,000 reviews
and more.. and still writing ...

Search MusicWeb Here

     
  
 

 

International mailing


  Founder: Len Mullenger             Editor in Chief: John Quinn               Contact Seen and Heard here  

Some items
to consider


Yes we are selling
Acte Prealable again!


we also sell Skarbo

and Oboe Classics


TROUBADISC

with Eggebrecht we get all the excitement we can handle

Book 1 Book 2 Book3
Mota The Triptych: -Website

Asmik Grigorian

Breathtaking Performance
controversial staging
Review Westbrook
Review Hedley
Every lover of Salome should see this recording
Mullenger interpretation

Vraiment magnifique!


Quite splendid


Winning performances


Mahler Symphony 8
a magnificent disc


a huge talent


A wonderful disc


Weinberg Symphonies 2 & 21
A handsome tribute!


Roth’s finest Mahler yet


Mahler 9 Blomstedt
Distinguished performance

 


Support us financially by purchasing this from

Wolfgang Amadeus MOZART (1756-1791)
March, K249 [4.01]
Serenade No. 7 in D major, K250 ‘Haffner’ (1776) [59.43]
Othmar SCHOECK (1886-1957)
Serenade for small orchestra Op. 1 (1906/07 revised c. 1915) [08.16]
Musikkollegium Winterthur/Roberto González Monjas (violin & direction)
rec. 2017, Stadthaus Winterthur, Switzerland
CLAVES 50-1710 [72.03]

On this Claves album, featuring a Serenade each from Mozart and Schoeck, the press information highlights how both composers were only twenty years old at the time of composition and how one hundred and thirty years separates the two works. This fascinating programme is played by the Musikkollegium Winterthur, a forty or so strong ensemble here, directed from the violin by Roberto González Monjas.

The opening work Mozart’s Marcia (March), K249 is rather misleadingly shown on the trackisting as if it is the first movement of the following Serenade No. 7 ‘Haffner’ and not as a separate work. Composed for a Haffner family wedding at Salzburg in 1776 the March, marked Maestoso, was evidently intended to serve as an introduction to the larger scale ‘Haffner’ Serenade. In Salzburg performing tradition, evidently some serenades were preceded by a march movement played by the musicians while parading to their gathering point. A helpful explanatory note I received from Roberto González Monjas reads, “since the March is an integral part of the Serenade and it helps create a theatrical beginning while inviting the audience into the Serenade, we thought it was best to have all movements under the same umbrella.”

Mozart composed a considerable number of works classed as ‘entertainment music’ intended often for outdoor entertainment on social occasions, not for serious performance in the concert hall, church or recital room. This ‘entertainment music’ in Mozart’s output took several forms such as, orchestral music, small chamber groups and often wind ensembles. Even if the objective of the work was for other than concert purposes Mozart took the modest ambition of the genre very seriously and I believe great inspiration can be found in some of these scores such as the Serenade No. 10, K361 ‘Gran Partita’; a masterwork of the genre.

Mozart composed his Serenade No. 7, K250 known as ‘Haffner’ in 1776 in response to a commission by the composer’s friend Sigmund Haffner the younger, son of the Bürgermeister of Salzburg, who wanted a serenade for the wedding festivities of his sister Marie Elisabeth. Musicologist H.C. Robbins Landon described the score in glowing terms as “Mozart's first great orchestral work - that is, the first in which technical ability and musical genius are perfectly wedded.” Musikkollegium Winterthur is very much at home with Mozart’s lively writing, which it emphasises, playing with real verve and a strong sense of spontaneity that never comes at the expense of unity. Directing from the violin Monjas’s solo contributions are quite excellent. For those wanting to hear more of Mozart’s Serenades (including the celebrated ‘Gran Partita’) and Divertimenti for wind ensemble I can heartily recommend a recording on period instruments from Amadeus Winds conducted by Christopher Hogwood recorded in 1985/89 in New York and Boston on Decca.

Described by music writer Mark Morris as “one of the neglected minor masters of twentieth century music” Othmar Schoeck in his early period was writing looking back as the sun was setting on Romanticism. Written in 1906/07 Schoeck’s rather brief Serenade for small orchestra, his official opus one, was for a short time known by the sobriquet of Spanish Serenade. Strongly influenced by Hugo Wolf’s Italian Serenade from almost fifteen years earlier Schoeck introduced his own Serenade as an examination piece during a student concert at Zürich Conservatory where he was a pupil. Around eight years later, at the suggestion of his then teacher Max Reger, Schoeck undertook some revisions to the score notably adding a second bassoon and timpani to the closing section. It’s certainly an ambitious and worthy work for a student, which undoubtedly makes its presence felt. Striking for its exuberance and joyous sense of fun this engaging performance aptly reveals the composer’s polished compositional facility.

Recorded at Stadthaus Winterthur there are no problems at all with the sound quality which is reasonably warm, clear and well balanced. The interesting essay in the booklet is taken from an interview that musicologist Ronny Dietrich held with Roberto González Monjas.

This rewarding album on Claves comprises of two Serenades, one from Mozart and another from the much lesser known Schoeck, yet both works provide light hearted enjoyment in spades.

Michael Cookson

 

 



We are currently offering in excess of 51,000 reviews


Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical


Nimbus Podcast


Obtain 10% discount



Special offer 50% off
15CDs £83 incl. postage

Musicweb sells the following labels

Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger