Mozart: Flute Concerto G Major K. 313 / Zofia Neugebauer, flute / SummerMusicAcademy Hundisburg

Wolfgang Amadeus Mozart: Flute Concerto G Major K. 313
Zofia Neugebauer, flute
SummerMusicAcademy Hundisburg
Johannes Klumpp, conductor
live recording August 7th 2021
www.sma-hundisburg.de

[@rolandwinkelseer9890]

Schön das ich das noch mal erleben darf. Mein Lieblings Stück von Mozart, auf meiner gebauten Bühne zu hören . Danke Johanes und auch mein Dank an das Orchester

[@nichotime]

Wow what a cadenza!!!!!!!! on the first movement. Thank you so much for your gorgeous phasing and polish!!!!

[@user-xb4pu5kc5n]

Brava !! Beautiful 🎶👏👏👏

[@markalanlongo]

Probably one of the best performances of this concerto.

[@danielwalker2381]

Still can’t believe it has only 3.7k views when all the others, even Pahud’s , aren’t as perfect as this. Pahud’s is fantastic but it can get a little old

[@mortenclausen5800]

Amazing - love it!

[@Certainvoice]

Wow!!!!!

[@piotrdec_official1711]

👏

[@martynabezdziecka355]

It is so pure, so delicate, so elegant. Absolutely amazing. What a beautiful soul!

[@luisrafaelcompositor]

Bravo.

[@robertobrambilla9072]

Brava!

[@user-xb4pu5kc5n]

Movements
2) 8:22
3)15:39

[@elizarodriguez402]

Me. Neugebaure, did you write your own cadenza? I like it very much.

[@Morahey]

I liked the HIP of this version, however, I would have liked the flute to be an authentic instrument, for which this concerto was written for.

[@dasteufelhund]

I guess the treatment of the embellishment is something no one wants to talk about here?

[@johannesklumpp757]

Die Vorschläge sind in Einklang mit dem Lehrbuch von Daniel Gottlob Türk gespielt. Auch Quantz lässt sich so lesen. Ich empfehle zudem das Buch "der Vorschlag von Günther von Noé, wobei ich ihm nicht in allem folge - er ist doch ein "Must-read". Letztendlich ist vor allem der Quantz (weit mehr als Leopold Mozart) sowie die Frage, wann W.A. Mozart in seinen Sinfonien lombardische Rhythmen schrieb und wann Vorschläge, entscheidend. Vergleiche z.B. KV 129 und KV 130. Auch die unterschiedlichen Vorschläge innerhalb der "Pariser Sinfonie", die keinen Sinn ergeben, wenn sie alle "auf die Zeit" gespielt werden. Harmonisch zumindest gibt es trotz anderslautender Gerüchte in meiner bescheidenen Einschätzung keine Begründung. Ich bin alle Sinfonien durchgegangen... aber ich lerne gerne dazu.
Die Anregung zur Beschäftigung mit dem Thema habe ich übrigens von Reinhard Goebel erhalten. Ist also nicht alles auf meinem eigenen Mist gewachsen.
Herzliche Grüße, danke für die Nachfrage! JK

[@dasteufelhund]

@@johannesklumpp757 But Quantz, Haydn, and Stamitz none applied the lombartic rhythm in their works and the treatise showed the ornamentation/embellishment notes as either appoggiatura or acciaccatura. They were written as fully grouped sixteenth or accentuated sixteenth. Not separated like what she is doing here...

[@johannesklumpp757]

@@dasteufelhund Not quite. Regarding Leopold Mozart's book, you are right, but Türk goes into the special case of the dactyl, where the grace note has to played short and before the beat. The German word of the time is "angeschliffen". And Quantz makes a very clear distinction between the note on the time (as you describe it) - and the short note played before the time. (The german word “Vorschlag” literally menas “before the beat”…)
Look, we are not playing a Lombard rhythm, where the short note is explicitly played "on time" (like in the beginning of Mozart Symphony K. 129). We "schleifen an", i.e. play just before the beat. Thus the dactyl (long-short-short) remains as rhythm. (In his symphony K. 130 we have a Lombard rhythm and a grace note in one place - the grace note HAS to be played before the time...)
You see, in my opinion, this was the way of playing from which Mozart had in mind. Only at the beginning does it attract attention. After a short time, it even seems more natural, lively and elegant to me - and many other people.
By the way, this dactyl with gracenote is a typical "gallant" figure. It has its heyday from 1725 and disappears in the eighties. In Vienna, Mozart uses it less and less. Very exciting to comprehend.
You will find many arguments for your thesis in the sources. I find many for mine. Probably we have to accept that one can see it differently.
We could discuss this for hours, I love it. But so much for now.
I have formulated the text in German and had to translate it (with a little help from DeepL, because I can express these complex facts better in my language. I hope the translation is ok.
Thank you for your questions.