Mozart: Piano Rarities and Favourites - Jennarelli: Rondo alla Turca Paraphrase.
Recorded in June 2014 at Vellon Studio, Italy, on a Grotrian-Steinweg ca. 1930.
Nine Piano Pieces for piano, K.Anh.207 (Mozart, Wolfgang Amadeus)
This beautiful suite is recorded here for the second time on modern piano.
Mozart wrote the 9 pieces K.Anh.207 in 1771 as Ballet music from 'the pastoral opera Ascanio in Alba' K. 111, performed at the Teatro Regio Ducal in Milan, on 17 October 1771.
We can already find here the qualities of the best Mozart.
First of all his legendary simplicity of musical writing, hiding beautiful contents.
The No.2, No.4 and No.7 are very fine and touching lyrical oasis.
The No.4 in particular is a masterpiece of musical expression condensed in few measures.
The No.1, No.3, No.5, No.6 and No.8 are flowing and graceful tripartite dances.
The last piece of the suite (No.9) has a conclusive character and this is the only piece with an elaborate and long second part.
The pianism of the 9 pieces K.Anh.207 is very similar to the pianism of the Piano Sonata No.16 in C major, K.545, with the prevalence of two simple horizontal musical lines (one for each hand).
And therefore we present these pieces (K.Anh.207 and K.545) in sequence.
Piano Sonata No.16 in C Major, K.545 (Mozart, Wolfgang Amadeus)
Mozart probably composed this Piano Sonata in 1788 and the first edition was published in 1805.
The famous second movement is one of the most loved classical pieces ever.
The sublime melody seems to have no age and is beyond the stylistic conventions of its Era.
The third movement is a typical example of Mozart's musical humour, with a frisky beginning and a joking interruption before the true final.
Andantino in E-flat Major, K.236/588b (Mozart, Wolfgang Amadeus)
With the touching Andantino K.236/588b, we can explore the other style of Mozart's pianism, a complicated mix of horizontal melodic lines, sequences of vertical chords and sophisticated counterpoint.
Written probably in 1783, the theme of Andantino is a free partial transcription of the theme from the Aria 'Non vi turbate' of the opera 'Alceste' (1767) by Gluck. This piece was probably the first part of series of variations based on such theme. Since it is known that the difficult relationship of Mozart with Gluck (years 1761-1781), in 1783, shifted to a cautious mutual appreciation, and that Mozart sealed this change of attitude of Gluck towards himself with the Piano Variations K. 455 (1784) on a theme from the opera 'La rencontre imprévue' by Gluck, it is really possible that the Andantino K.236/588b belonged to this period (1783-1784) and that it was the first part of a set of variations for piano to celebrate the new peaceful attitude of Gluck. Mozart probably started with 'Non vi turbate' (= 'don't worry anymore') and, in the end, instead decided to develop the variations 'La rencontre imprévue' (= 'the unexpected encounter'): both the titles evidently seem to signify that Mozart had not to fear anymore for his career in Vienna, because of Gluck.
Andante variato in F Major, K.Anh.138 (Mozart, Wolfgang Amadeus)
First world recording.
The Andante variato, K.Anh.138 is the transcription of the 2nd mvt. of the String quartet no. 15 in D minor, K.421/417b.
The first publication of this magnificent piece is dated 1805 or 1806 (Vienna: Artaria).
The counterpoint for 4 string voices, transferred to the piano, produces a beautiful and melancholy sound, with interesting and unusual tone effects.
Piano Sonata No.12 in F Major, K.332/300k (Mozart, Wolfgang Amadeus)
We can find the same complexity of contents and pianism in the Piano Sonata K.332.
This Mozart's masterpiece is characterized by the abundance of musical ideas.
In particular the first movement in sonata form presents beautiful composite themes, with many key changings.
Here the Mozart's pianism is at its highest level of complexity and really sparkling. Sonata K. 332 has the special peculiarity to be very similar to a Piano Concerto by Mozart, both for its musical atmosphere and melody treatment and for its formal structure.
The Piano Sonata K. 332, with the Piano Sonata K. 330 and the Piano Sonata K. 331 (with the famous 'Alla turca') were all written in the same period and then were published in Vienna in 1784, and they share the same brilliant and joyful character and a marvelous easiness of sound, hidden, in reality, in a demanding and complex piano and music technique.
Rondo alla Turca Paraphrase (Simone Jennarelli, 22 march 2013)
First world recording.
'Rondo alla Turca Paraphrase' is an amusing, virtuoso and dreamy homage to Mozart.
Inspired by the Rondo alla turca K 331, this piece blends and develops themes, fragments and harmonies of the celebrated piece by Mozart.
Starting with the Mozart's cues, this piece leads the music to unexpected expressions like
Hungarian style, Jazz style, Chopin nocturne style, Prokofiev style...
A humouristic Stretta closes the piece like a feast of fireworks.
Simone Jennarelli is member of the League of Composers/ISCM - New York.
Simone Jennarelli, composer and pianist, has studied Composition with Bruno Bettinelli (the celebrated maestro of Muti, Pollini, Abbado, Chailly). He has studied piano with the great pianist and teacher Ludwig Hoffmann, in Wien (Austria) and in München (Germany).
Simone Jennarelli has written music for orchestra, chamber ensemble, piano, organ and chorus, soundtracks for experimental short films in competition at Montecarlo Festival in IMAGINA 2007.
Simone Jennarelli is also the featured artist, the producer and the copyright owner of his own music with label SmartCgArt.
He has recorded music by Brahms (Haydn Variations) and by Bettinelli for RSI, Italian Swiss Radio.
Simone Jennarelli and SmartCgArt are devoted to the musicological re-discovery and promotion of forgotten or neglected treasures of Classical Music.