Suite for piano C major, KV399 (385i) (Fragment, completed by R. Levin).
Suite für Klavier C-Dur, KV 399 (385i) (Fragment, vollendet von R. Levin)
Played on the fortepiano by Kristian Bezuidenhout.
Lucy Worsley traces the forgotten and fascinating story of the young Mozart’s adventures in Georgian London. Arriving in 1764 as an eight-year-old boy, London held the promise of unrivalled musical opportunity. But in telling the telling the tale of Mozart’s strange and unexpected encounters, Lucy reveals how life wasn’t easy for the little boy in a big bustling city.
With the demands of a royal performance, the humiliation of playing keyboard tricks in a London pub, a near fatal illness and finding himself heckled on the streets, it was a lot for a child to take. But London would prove pivotal, for it was here that the young Mozart made his musical breakthrough, blossoming from a precocious performer into a powerful new composer.
Lucy reveals that it was on British soil that Mozart composed his first ever symphony and, with the help of a bespoke performance, she explores how Mozart’s experiences in London inspired his colossal achievement. But what should have earned him rapturous applause and the highest acclaim ended in suspicion, intrigue and accusations of fraud.
At a festival in Zichron Yaakov, pianist Malcolm Bilson will try to prove his contention that 300-year-old pianos can produce more faithful sounds than Steinways.
Let’s say you’re a pianist, or a devoted fan of classical piano music. And let’s say that to your ears, Steinway pianos are the best in the field. Would you be satisfied exclusively with a Steinway? The American pianist and musicologist Malcolm Bilson, for one, talking about how to choose a piano, offers the example of the person in charge of tuning the collection of antique pianos at Cornell University in Ithaca, New York, where Bilson is a professor of music. That piano tuner, he explains in a talk that can be found online, also does a better job of tuning modern Steinways than someone who specializes only in modern Steinways. It’s like a mechanic who deals only with Mercedes cars and thus knows less in the aggregate than a mechanic who is familiar with many different cars.
In regard to Mozart’s “expressive instructions,” as Bilson terms them, the key point concerns groups of sounds that are meant to sound connected, like a single “singing” line, as opposed to those that are to be separated. An illuminating example is the opening phrase of Mozart’s Piano Concerto in D Minor, K. 466. The composer’s direction to separate the first three connected notes from the next three can be executed nicely only on the fortepiano, Bilson notes and demonstrates. Whereas on the modern piano, the separation will sound clumsy, fragmented, “like a hiccup.”
Beethoven’s piano sonatas will also definitely benefit from being played on a period instrument, Bilson says in reply to another question. In the case of Beethoven, it’s crucial to choose the correct fortepiano, he points out, because there are vast differences between the first sonatas and the later ones (which were composed for very different fortepianos). Steinways or other contemporary pianos are not suitable for playing the sonatas, Bilson avers, one reason being that very brief powerful notes (sforzando), such as Beethoven calls for, cannot be effectively produced on modern pianos, on which the sound develops slowly.
Overall, Bilson says, there are more nuances of loudness in the fortepiano, though modern pianos are preferable in terms of color changes. However, what’s important in Mozart and Beethoven, he says, is not the changes of color but the articulations, as previously explained. “It is difficult to execute those changes on a modern piano,” he says.
We began our overview of Mozart’s Magic Flute with a reference to the German music critic Joachim Kaiser’s comment in his Bayern IV radio show, Beethoven: Werk und Wirkung, according to which Beethoven found its variety very stimulating. Since such an opinion might not have developed overnight, it might be very interesting for us to particularly investigate Mozart’s influence and the influence of his opera The Magic Flute on Beethoven.
This investigative journey will not be ‘smooth sailing’ across a calm sea, but a rather lively, invigorating one that will require us to, on occasion, take detours and to watch out for every ‘change of wind’. It will set out in Bonn with our observing the youth Beethoven as he becomes acquainted with Mozart’s works, but also as his teacher holds this former wunderkind and then-up-and-coming great young Viennese composer up as an example for him to follow, which might also have increased Beethoven’s curiosity and eagerness to finally meet this great man in person during his first visit to Vienna. Will his expectations of Mozart have been met?
After that, we will, perhaps again, read certain prophetic words that have found entry in Beethoven’s farewell album, after which we will follow him to Vienna in 1792 in order to learn if he was able to live up to what others expected of him in his role as Mozart’s ‘successor’. However, we will also want to observe how he tried to free himself from this role in order to pursue his own path.
What will be the result of his severing his ‘musical umbilical cord’ to Mozart? Perhaps, the result will be a continued appreciation of Mozart and also certain variations that might be of interest to us!
How will Beethoven’s relationship develop during his more mature years of the beginning 19th century? Will Mozart remain the greatest composer in his mind? What position will he take towards him in the event that this should not be the case? Will his keen understanding of the variety of the roles of the Magic Flute also have an influence on his judgement in his personal life? These are some of the questions that we will try to answer here.