Serenade concert
Ensemble Col Basso
| 8 July 2006 |
8 p.m. |
Museum garden |
Hallstatt |
| (in the event of bad weather, the concert will be held in the culture and congress house, Hallstatt) |
L. Boccherini
Quintet in B major, G 337
Andante Lento/Allegro vivo/Tempo di Minuetto/Grave/Allegro vivo/RondeauW. A. Mozart
Grande Sestetto Concertante K 364
(Sinfonia Concertante)
Allegro maestoso/Andante/Presto
|
G. Bottesini
Gran Quintetto in c minor
Un mio ricordo a Saverio Mercadante.
For string quartet and double bass
Allegro moderato/Allegro ma non troppo/Adagio/Finale: Allegro con brio
|
Luigi Boccherini
(1743 - 1805)The polish, the ease and the gracefulness of the music of L. Boccherini moved the French aesthetic Charles-Julien Lioult de Chèndollé to the comparison, “like a dream, like a perfume”. The violinist Giuseppe Puppo, on the other hand, called Boccherini “Haydn’s wife” due to the flowing, soft forms of his music. Two opinions typical of the status awarded the composer born on 19 February 1743 in Lucca, Italy.
Giovanni Bottesini
(1821 - 1889)
The composer, born in 1821 in Crema, displayed such an exceptional musical talent during his days as a choir boy that he was accepted by the Milan Conservatory at the tender age of 11.
This establishment only had one place for a double bass student. Bottesini managed incredible virtuosity on his instrument within the shortest time, and was in demand as a soloist in his lifetime: he travelled the world with his three-stringed basso da camera. His compositions were considerably influenced by the Italian bel canto masters.
W. A. Mozart
Grand Sestetto Concertante KV 364
The undoubted highlight of Mozart’s pre-Viennese creative concert activity, the Concertante was the first to display the symphonic cadence which was to dominate the later concerts. Not only does it find expression in the majestic character of the opening, which is retained throughout the whole of the first movement, but rather in the relation to each other. The soloists are ranked on top of each other, like individuals.
They complement, they contradict or unite in a parallel vocal line. This dialogue continues in the core movement of the concert, in the c minor andante. The closing presto in the short-limbed 2/4 bar once again opposes the nocturnal moods of the middle movement with concentrated vitality:
Virtuosity as well as the musical play with partially unfulfilled, partially too-late fulfilled audience expectations characterise the movement.
