Stuttgarter Kammerorchester, Thomas Zehetmair – #4 Mozart: Symphonies Nos. 23 & 38 “Prague” / Violin Concerto No. 3 (2024) [FLAC 24 bit, 96 kHz]

Artist: Stuttgarter Kammerorchester, Thomas Zehetmair
Album: #4 Mozart: Symphonies Nos. 23 & 38 “Prague” / Violin Concerto No. 3
Genre: Classical
Release Date: 2024
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:07:41
Total Tracks: 10
Total Size: 1,14 GB

Tracklist:

1-1. Stuttgarter Kammerorchester – Symphony No. 23 in G Major, K. 181: I. Allegro Spiritoso (04:52)
1-2. Stuttgarter Kammerorchester – Symphony No. 23 in G Major, K. 181: II. Andantino Grazioso (02:01)
1-3. Stuttgarter Kammerorchester – Symphony No. 23 in G Major, K. 181: III. Presto Assai (01:59)
1-4. Stuttgarter Kammerorchester – Violin Concerto No. 3 in G Major, K. 216: I. Allegro (08:51)
1-5. Stuttgarter Kammerorchester – Violin Concerto No. 3 in G Major, K. 216: II. Adagio (07:03)
1-6. Stuttgarter Kammerorchester – Violin Concerto No. 3 in G Major, K. 216: III. Rondeau. Allegro (06:29)
1-7. Stuttgarter Kammerorchester – Mozart: Minuet in C Major, K. 409 (05:44)
1-8. Stuttgarter Kammerorchester – Symphony No. 38 in D Major, K. 504 “Prague”: I. Adagio – Allegro (13:09)
1-9. Stuttgarter Kammerorchester – Symphony No. 38 in D Major, K. 504 “Prague”: II. Andante (10:00)
1-10. Stuttgarter Kammerorchester – Symphony No. 38 in D Major, K. 504 “Prague”: III. Presto (07:28)

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What can we hear on this album? Firstly, a symphony that is only around nine minutes long, formally and tonally an Italian piece (with three merged movements). KV 181 in D major, composed in May 1773, shortly after the Milan premiere of “Lucio Silla”, begins with fanfares in Allegro spiritoso, followed by highly dramatic, expansive contrasts between major and minor, forte and piano, light and shadow, spanned over a “walking” bass, as well as effective dialogues between the first and second violins, which audibly emulate the tonal ideals of the Mannheim School. In the second movement, an Andantino grazioso, the solo oboe sings a melody that resembles a (two-part) opera aria. The Presto assai finale, a finely structured Rondo, uses dotted notes as it marches towards a happy end in a narrative that speaks to us without words.

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