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Mozart: Clarinet Quintet, Horn Quintet, Oboe Quartet

Wolfgang Amadeus Mozart , The Academy of Ancient Music Chamber Ensemble , Anthony Pay , Michael Thompson , Stephen Hammer Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)

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Product details

  • Performer: Anthony Pay, Michael Thompson, Stephen Hammer
  • Orchestra: The Academy of Ancient Music Chamber Ensemble
  • Composer: Wolfgang Amadeus Mozart
  • Audio CD (25 Oct 1990)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: L'Oiseau Lyre
  • ASIN: B00000E3QF
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 102,748 in Music (See Top 100 in Music)

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1 of 1 people found the following review helpful
5.0 out of 5 stars Superb Mozart chamber music 1 Aug 2014
By Pensato
Verified Purchase
Beautiful playing from Antony Pay (basset clarinet), Stephen Hammer (oboe), Michael Thompson (French horn) and the Academy of Ancient Music Chamber Ensemble. The 1988 recording is sounding great - warm and well focused.

I particularly enjoy the use of the basset clarinet (as Mozart intended) for the Clarinet Quintet - those deep resonant low notes sounding so natural. The Larghetto is particularly moving in the closing bars.

74 minutes of heaven and humanity.
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Amazon.com: 5.0 out of 5 stars  3 reviews
12 of 14 people found the following review helpful
5.0 out of 5 stars RATED 5 STARS #1 PERIOD INSTRUMENT CD MOZART CLARINET QUINTET K.581/OBOE QUARTET K.370/HORN QUINTET K.407/ACADEMY ANCIENT MUSIC 8 April 2010
By Mozart Scholar & Audiophile - Published on Amazon.com
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RATED 5-STARS BY MOZART AUDIOPHILES WORLD'S #1 PERIOD INSTRUMENT CHAMBER MUSIC CD MOZART CLARINET QUINTET K.581 STADLER, OBOE QUARTET K.370, AND HORN QUINTET K.407 ACADEMY OF ANCIENT MUSIC CHAMBER ENSEMBLE!

CD REVIEWER NOTE TO AMAZON.COM READERS: I TYPE WITH LARGE CAP LETTERS TO READ WHAT I WRITE BECAUSE I AM A 100% DISABLED DECORATED VIETNAM VETERAN AND AM ALMOST BLIND WITH MACULAR DEGENERATION. I APOLOGIZE FOR ANY INCONVENIENCE LARGE CAPS MAY CAUSE YOU. ~PATRICK HILL, MOZART SCHOLAR & AUTHOR~

WOLFGANG AMADEUS MOZART [1756 - 1791]
*CLARINET QUINTET IN A [K.581 STADLER]
*OBOE QUARTET IN F [K.370]
*HORN QUINTET FOR STRINGS IN E [K.407]
PERFORMED BY THE LEGENDARY ACADEMY ANCIENT MUSIC CHAMBER ENSEMBLE

CD RELEASE DATE 1988
TOTAL PLAYING TIME 73:58 MINUTES

THIS OUT-OF-PRINT MOZART COLLECTOR'S CD IS FOUND IN MOST MOZARTEAN'S CD/MP3 COLLECTIONS!

THE ACADEMY OF ANCIENT MUSIC CHAMBER ENSEMBLE'S VIRTUOSO MUSICIANS FEATURED ON THIS CD ARE:
*ANTHONY PAY [CLARINET]
*STEVEN HAMMER [OBOE]
*MICHAEL THOMPSON [HORN]

CD TRACKLIST MISSING FROM ABOVE AMAZON.COM LISTING:
TRACK 1
CLARINET QUINTET IN A [K.581 STADLER]
I. ALLEGRO
II. LARGHETTO
III. MENUETTO
IV. ALLEGRETTO CON VARIAZIONI

TRACK 3
OBOE QUARTET IN F [K.370]
I. ALLEGRO
II. ADAGIO
III. RONDO ALLEGRO

TRACK 3
HORN QUINTET FOR STRINGS IN E [K.407]
I. ALLEGRO
II. ANDANTE
III. RONDO ALLEGRO

ABOUT MOZART'S CLARINET QUINTET IN A [K.581 STADLER]
COMPOSED IN 1789 FOR THE HIS FRIEND ANTON STADLER ONE OF THE 18TH CENTURY'S GREATEST CLARINETISTS OF VIENNA'S ROYAL COURT ORCHESTRA, MOZART'S CLARINET QUINTET K.581 IS SCORED FOUR [4] GLORIUS MOVEMENTS FOR 1 BASSETT CLARINET AND A STRING QUARTET OF 2 VIOLINS, 1 VIOLA AND 1 CELLO. MOZART'S CLARINET QUINTET IN A [K.581 STADLER] IS RENOWNED AS THE WORLD'S MOST BEAUTIFUL CHAMBER MUSIC FOR ITS BEAUTIFUL LYRICAL MELODIES! MOZART COMPOSED HIS CLARINET QUINTET K.581 WITH A WIDE VARIETY OF MOODS, DIVERSITY OF MUSICAL TEXTURES, AND SOPHISTICATED RICHNESS TO ENABLE THE CLARINETIST TO DISPLAY HIS VIRTUOSO TALENTS AS MUCH AS POSSIBLE.

ABOUT MOZART'S OBOE QUARTET IN F [K.370]
COMPOSED IN 1782 FOR THE HIS FRIEND FRIEDRICH RAMM WHO WAS ONE OF THE GREATEST OBOISTS OF THE LATE 18TH CENTURY FROM EUROPE'S FAMED MUNICH ORCHESTRA, MOZART'S K.370 IS SCORED FOR ONE OBOE, ONE VIOLIN, ONE VIOLA AND ONE CELLO. K.370 IS MOZART'S ONLY COMPLETED OBOE QUARTET AND IS RANKED BY MOZART ENTHUSISTS AMONG OF THE WORLD'S MOST BEAUTIFUL CHAMBER MUSIC!

MOZART SPENT THE WINTER OF 1780-1781 IN MUNICH, PUTTING THE FINISHING TOUCHES ON HIS NEW OPERA IDOMENEO IN PREPARATION FOR ITS PREMIERE ON JANUARY 29, 1781. WHILE THERE HE MET FRIEND FRIEDRICH RAMM, AN EXTRAORDINARY OBOIST FOR WHOM MOZART COMPOSED THE OBOE QUARTET FOR VIOLIN, VIOLA, & CELLO IN F [K.370] GIVING THE OBOE THE GREATEST POSSIBLE LEVEL OF PROMINENCE. THE IMPORTANCE OF THE OBOE PART IN K.370 DOES NOT MEAN THAT THE STRING PARTS ARE NEGLIGIBLE. ON THE CONTRARY, MOZART GIVES THEM A GREATER ROLE IN K.370'S DIALOGUE BETWEEN INSTRUMENTS THAN HE DOES IN HIS FLUTE QUARTETS MAKING THE K.370 RANK AMONG HIS BEST INTEGRATED CHAMBER MUSIC WORKS. MOZART'S OBOIST FRIEND FRIEDRICH RAMM'S ARTISTRY MUST HAVE BEEN EXCEPTIONAL JUDGING BY K.370'S OPENING SONATA 1ST ALLEGRO MOVEMENT WHERE THE OBOE IS CHARGED WITH MOST OF THE THEMATIC PRESENTATION ALTHOUGH THE VIOLIN AND VIOLA SHARE IN THE MUSICAL ARGUMENT THROUGHOUT THIS MOVEMENT. K.370'S SLOW 2ND ADAGIO MOVEMENT ILLUSTRATES THE WIDE RANGE OF EXPRESSION OF MOZART'S OBOE QUARTET BECAUSE IT IS IN THE KEY D MINOR, A KEY IN WHICH MOZART HIS DEPTH OF FEELINGS. K.370 CLOSES WITH A CHEERFUL SPIRITED 3RD RONDO MOVEMENT IN WHICH CONTRASTING EPISODES BETWEEN INSTRUMENTS. WITH AN UNUSUAL, THIRTEEN-MEASURE SEGMENT IN WHICH THE OBOE PLAYS IN 4/4 METER WHILE THE STRINGS CONTINUE IN 6/8 NOT NOTICING THAT ONE OF THEIR NUMBER HAS GONE ASTRAY.

ABOUT MOZART'S HORN QUINTET FOR STRINGS IN E [K.407]
COMPOSED IN 1782 FOR THE HIS FRIEND JOSEPH LEUTGEB WHO WAS ONE OF THE GREATEST HORN PLAYERS OF THE LATE 18TH CENTURY FROM EUROPE'S FAMED MUNICH ORCHESTRA, MOZART'S K.407 IS SCORED FOR ONE HORN, ONE VIOLIN, TWO VIOLAS AND ONE CELLO. K.407 IS MOZART'S ONLY COMPLETED HORN QUINTET AND IS RANKED BY MOZART ENTHUSISTS AMONG OF THE WORLD'S MOST BEAUTIFUL CHAMBER MUSIC!

WOLFGANG MOZART'S HORN QUINTET FOR STRINGS IN E [K.407] IS THE WORK OF A COMPOSER DELIGHTING IN THE ART OF COMPOSITION. EACH OF K.407'S THREE MOVEMENTS IS A PARAGON OF BALANCE AND TONAL BEAUTY MANY CLASSCAL MUSIC CRITICS AND MOZART AUDIOPHILES HAVE PLACED MOZART'S K.407 ALONGSIDE HIS MASTERPIECE WIND CONCERTOS AND WITH GOOD REASON. THROUGHOUT K.407, THE HORN PROUDLY DISPLAYS ITS BRILLIANCE AGAINST THE ACCOMPANIMENT IN THE STRINGS. K.407 1ST ALLEGRO MOVEMENT PROVIDING MOMENTS OF HUMOR IN WHICH THE STRINGS MIMIC AND ATTEMPT TO CONFUSE THE UNSUSPECTING HORNIST. FOR K.407, MOZART CHOSE A STRING COMPLEMENT THAT INCLUDES TWO VIOLAS INSTEAD OF THE TRADITIONAL DOUBLE VIOLINS. THE RESULT IS AN ENSEMBLE SOUND OF GREATER WARMTH, COMPLEMENTING THE MELLIFLUOUS TONES OF THE HORN. THIS CHOICE OF INSTRUMENTATION WORKS TO GREAT EFFECT IN K.407'S 2ND ANDANTE MOVEMENT WHERE THE HORN TAKES UP A LOVE DUET BETWEEN THE HORN AND VIOLIN. K.407'S 3RD RONDO MOVEMENT FINALE BRINGS THE WORK TO AN APPROPRIATELY BOLD AND SPARKLING CLOSE WITH THE HORN AFFORDED ONE LAST CHANCE TO DISPLAY ITS VIRTUOSITY.

ABOUT MOZART'S CHAMBER MUSIC DIVERTIMENTI AND SERENADES
IN THE 18TH CENTURY, ONE OF MOZART'S SPECIALTIES WAS COMPOSING FESTIVE ENTERTAINMENT MUSIC CALLED DIVERTIMENTI AND SERENADES TO BE PLAYED AS BACKGROUND MUSIC BY A SMALL CHAMBER MUSIC ENSEMBLE AT OUTDOOR SOCIAL EVENTS SUCH AS NAME DAYS, BIRTHDAYS, NEW YEAR'S FESTIVITIES, WEDDINGS, AND SCHOOL GRADUATION CELEBRATIONS WHERE PARTY GUESTS ENJOYING A DRINKS AND MEALS. THE WELL-TO-DO PATRON'S OF MOZART'S ENTERTAINMENT MUSIC [ALSO CALLED CHAMBER MUSIC] WERE USUALLY THE ARISTOCRACY IN MOZART'S NATIVE SALZBURG AND VIENNA. AT SOME ENTERTAINMENT MUSIC OCCASIONS, MOZART HIMSELF OFTEN PLAYED THE SOLO VIOLIN, VIOLA, AND PIANO PASSAGES OF HIS DIVERTIMENTI AND SERENADES.

ALTHOUGH MOZART'S DIVERTIMENTI AND SERENADES WERE FUN LIGHT HEARTED CHAMBER MUSIC UNLIKE HIS SERIOUS SYMPHONIES AND CONCERTOS WHICH WERE INTENDED TO BE PERFORMED IN A THEATRE OR CONCERT ROOM, MOZART'S ENTERTAINMENT MUSIC [ALSO CALLED CHAMBER MUSIC] OFFERS CLASSICAL MUSIC ENTHUSIASTS THE SAME BEAUTY, CHARM, AND UNIQUE QUALITY AS HIS MORE SERIOUS MATURE CLASSICAL WORKS.
5 of 6 people found the following review helpful
5.0 out of 5 stars Mozart: Clarinet Quintet, Horn Quintet, and Oboe Quartet 19 Aug 2011
By Joe Zika - Published on Amazon.com
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Mozart: Clarinet Quintet, Horn Quintet, and Oboe Quartet

First off, Wolfgang Amadeus Mozart (1756-1791),[Johannes Chrysostomus Wolfgangus Theophilus Mozart] had a gift, was prolific and influential, composed over 600 pieces of music, which very few people will ever have done in their lives. He was an enduring composer of the classical era of classical music of which Franz Joseph Haydn (1732-1809) said, "posterity will not see such talent again in 100 years." Mozart was a precocious child prodigy and his music is still relevant even today. One of his favorite instruments was the clarinet. When he and his father Leopold were in Mannheim young Mozart heard the clarinet and wanted to substitute the violins for clarinets and I can see why. The clarinet is the only instrument, that when played well, can approximate the human singing voice, the supreme instrument.

On this CD we have three masterpieces written by Mozart all for virtuosos at the time, one for oboe Friedrich Ramm (1744-1811), horn Joseph Leutgeb (c.1745-1811), and clarinet Anton Stadler (1753-1812).

On this CD Total Time, 73:58

Clarinet Quintet in A major, K581 36:01

1. Allegro 13:07
2. Larghetto 6:35
3. Menuetto 6:57
4. Allegretto con variazioni 9:21

Oboe Quartet in F major, K370 17:34

1. Allegro 9:34
2. Adagio 3:37
3. Rondeau: Allegro 4:22

Horn Quintet in E flat major, K407 20:15

1. Allegro 9:31
2. Andante 6:25
3. Rondo: Allegro 4:18

The principals and Instrumentarium:

Antony Pay, Basset Clarinet - Daniel Bangham and Edward Planes, Cambridge 1984
Stephen Hammer, Oboe - C.A. Grenser c.1780
Michael Thompson, Horn - Paxman 1982 (France, mid-18th century)
Monica Huggett, Violin - Rowland Ross 1986(Stradivarius)
Pavlo Beznosiuk, Violin - William Forster c.1785
Jan Schlapp, Viola - Antonius Bachmann, Berlin c.1756
Timothy Mason, Cello - William Foster c.1785
Katherine Hart, Viola - Tomaso Eberle 1774

The Academy of Ancient Music Chamber Ensemble using period authentic instruments.

This recording was made at the Abbey Road Studio Number 1 in June 1987 and engineered in West Germany. The SPARS Code DDD, but this recording is not as strong as the newer DDD recordings. The volume must be turned to a higher level on your A/V system to get a better sound from this recording, even with a Blu-ray player. I didn't get a well defined clear spatial separation of the instruments, but it was of acceptable tolerances. The depth gradation was limited but it was there. The instruments being of the period were not as dynamic as more modern instruments so the natural tonal colors were a bit different, but that was to be expected.

Overall, I liked this CD, being a 24 year old recording it held up rather well, under excellent reproduction equipment. This particular recording unless re-mastered is difficult to obtain, but you will be pleased that you added it to your collection. I highly recommend it.
2 of 3 people found the following review helpful
5.0 out of 5 stars The Apple Core and K 581 2 Jun 2011
By Bernard Michael O'Hanlon - Published on Amazon.com
Outcasts from Eden, Genesis tells us that thorns and thistles will be our lot until we sink back into the dust. T S Eliot adds to the imprecation: "What are the roots that clutch, what branches grow out of this stony rubbish?" Answer: the Mozart Clarinet Quintet. It could only have been written `East of Eden'; its poignancy, pain and the transfiguration thereof would be unthinkable otherwise. Some might say that it is the justification of the Fall.

Having lived with the Clarinet Quintet for nearly three decades, I still don't know what it means even as it invariably sucks the air from my lungs. Ultimately, all superlatives fall short of Mozart's accomplishment. Akin to the monastic concept of being `an empty vessel', all one can do is listen receptively to this divine music.

I don't care for the timbre of the AAM strings, which are emaciated indeed. Not that it matters: it's eclipsed by the dazzling virtuosity of Anthony Pay.

Oh yes, there are two other masterpieces in this recital: K 407 & K 370 - but they are inconsequential by comparison; such be the surfeit of richness on offer here.
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