Artist: Berliner Barock Solisten, Reinhard Goebel
Album: Mozart: Serenades
Genre: Classical
Release Date: 2021
Audio Format:: FLAC (tracks) 24bit, 48 kHz
Duration: 51:26
Total Tracks: 11
Total Size: 527 MB

Tracklist:

01. Berliner Barock Solisten & Reinhard Goebel – Mozart: Serenade in D Major, K. 239 “Notturna”: I. Marcia. Maestoso (03:42)
02. Berliner Barock Solisten & Reinhard Goebel – Mozart: Serenade in D Major, K. 239 “Notturna”: II. Menuetto (04:06)
03. Berliner Barock Solisten & Reinhard Goebel – Mozart: Serenade in D Major, K. 239 “Notturna”: III. Rondeau. Allegretto (04:32)
04. Berliner Barock Solisten & Reinhard Goebel – Mozart: Adagio & Allegro in F Minor, K. 594 (Arr. O. Jockel for String Orchestra) (10:18)
05. Berliner Barock Solisten & Reinhard Goebel – Mozart: Adagio & Fugue in C Minor, K. 546: I. Adagio (02:47)
06. Berliner Barock Solisten & Reinhard Goebel – Mozart: Adagio & Fugue in C Minor, K. 546: II. Fugue. Allegro (04:18)
07. Berliner Barock Solisten & Reinhard Goebel – Mozart: Eine kleine Nachtmusik, K. 525: I. Allegro (07:48)
08. Berliner Barock Solisten & Reinhard Goebel – Attwood: Menuetto in G Major (Ed. W.A. Mozart) (02:30)
09. Berliner Barock Solisten & Reinhard Goebel – Mozart: Eine kleine Nachtmusik, K. 525: III. Romance. Andante (03:23)
10. Berliner Barock Solisten & Reinhard Goebel – Mozart: Eine kleine Nachtmusik, K. 525: IV. Menuetto. Allegretto (02:18)
11. Berliner Barock Solisten & Reinhard Goebel – Mozart: Eine kleine Nachtmusik, K. 525: V. Rondo. Allegro (05:40)

Download:

When in December 1812 the French violinist Pierre Rode (1774-1830) first visited Vienna, Beethoven wrote a work for Rode’s appearance before the “Associated Cavaliers” in the Palais Lobkowitz, his Violin Sonata op. 96, which received its premiere with Archduke Rudolph at the clavier: Beethoven, lover of humanity and advocate of peace among all nations, chose to stay at home and sulk, presumably so as not to have to offer his hand to a famous colleague. In the Great Hall of the Redoute, in which the public debut took place a little later, Rode for his part played works of his own. Whereas the correspondent of the “Allgemeine Musikalische Zeitung” spoke in cautiously favourable terms of Rode’s technique, only to add, “on the other hand he lacks that which electrifies and enraptures all hearts, fire and that pleasure which cannot be further described, that magic which charms and delights,” the violinist and composer Louis Spohr, who was also present, expressed himself more clearly and described the cause of the effect: “Through eternal Repetition of the same and ever the same Compositions the Recital had increasingly slipped into a Manner that bordered hard on Carricature”.