Wolfgang Amadeus Mozart - Grand Introduction and Fugue for Organ, KV. 546 (1788) [Score-Video]
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- Wolfgang Amadeus Mozart - Grand Introduction and Fugue for Organ, KV. 546 (1788)
Arrangement of Mozart's Adagio and Fugue in C minor for Strings, K.546
Helmut Schroeder, organ
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List of Mozart's counterpoint (number inside brackets indicate the age he wrote them)
Galimathias Musicum in D major K. 32: Fugue (10): czcams.com/video/TPcMkmrJams/video.html
Missa solemnis in C minor "Waisenhausmesse" KV 139 Gloria (12): czcams.com/video/XidEZEG3W3s/video.html
Missa solemnis in C minor "Waisenhausmesse" KV 139 Credo (12): czcams.com/video/XidEZEG3W3s/video.html
Mass in C major "Dominicus Messe" K66 Gloria (13): czcams.com/video/rlQJ2bgK3RQ/video.html
Mass in C major "Dominicus Messe" K66 Credo (13): czcams.com/video/rlQJ2bgK3RQ/video.html
Te Deum in C major K. 141 [double fugue] (13): czcams.com/video/3HLGJ7m-66U/video.html
Miserere in A minor, [4-part contrapuntal study] K.85 (14) czcams.com/video/_PxqQOUn1v0/video.html
Kyrie in D minor [4-part contrapuntal study] K.90 (16): czcams.com/video/ZOFFJJ1fAmU/video.html
KV125 - Pignus Futuræ Gloriæ (16): czcams.com/video/dQ77xyyffjA/video.html
Missa in honorem Sanctissimae Trinitatis in C major KV 167 Gloria (17): czcams.com/video/X9T_URjVl5I/video.html
Missa in honorem Sanctissimae Trinitatis in C major KV 167 Credo (17): czcams.com/video/YvCnr15hh78/video.html
Missa in honorem Sanctissimae Trinitatis in C major KV 167 Agnus Dei* (17): czcams.com/video/g2teM5WckzA/video.html
String Quartet No. 8 in F major K. 168 (17): czcams.com/video/3JDrlCG-y_E/video.html (the slow movement is a canon in F minor)
String Quartet No.11 in E flat major K. 171 (17): czcams.com/video/3_jlQ8tD4Uc/video.html (written in the style of double fugue)
String Quartet No. 13 in D minor K. 173 (17): czcams.com/video/q5MVDsqIqCY/video.html
Fugue In G Minor KV 401 (17): czcams.com/video/tXpV-gpgkQw/video.html
Missa Brevis in F major K. 192 (18): czcams.com/video/QprTvKApc8c/video.html
Missa Brevis in D major K. 194 (18): czcams.com/video/_7liw0vQFPI/video.html
Litaniae de venerabili altaris sacramento K243 [double fugue] : VIII Pignus (19): czcams.com/video/U-PDJozhBLI/video.html
Misericordias Domini in D minor K.222* (19): czcams.com/video/o4PQRbBn3OI/video.html
Missa Longa in C K262 Kyrie [double fugue] (19): czcams.com/video/yCDFfN7g_Bk/video.html
Missa Longa in C K262 Gloria [triple fugue] (19): czcams.com/video/yCDFfN7g_Bk/video.html
Missa Longa in C K262 Credo (19): czcams.com/video/yCDFfN7g_Bk/video.html
Missa Longa in C K262 Sanctus (19): czcams.com/video/yCDFfN7g_Bk/video.html
Vesperae solennes de confessore in C, K.339 - 4. Laudate pueri Dominum (24): czcams.com/video/c3rDwFFQ6bQ/video.html
Missa solemnis in C, K.337 - 5. Benedictus (26): czcams.com/video/ghAa3BJ4b5I/video.html
Praeludium and Fugue KV 394 (26): czcams.com/video/m9vVu8rNON4/video.html
Suite in C K.399 - I. Overture K399 (26): czcams.com/video/UHgs7-u7wGQ/video.html
Sonata for Keyboard and Violin No. 29 in A Major, K. 402: II. Fuga (26): czcams.com/video/mMe4MCsH2WY/video.html
Trio (Fuga a 3) in G Major, K. 443 (27): czcams.com/video/UtLOtTDk848/video.html
Fugue In E Flat Major KV 153 (27): czcams.com/video/_2rpWr3etWo/video.html
Fugue In G Minor KV 154 (27): czcams.com/video/2t42ZCeLxlk/video.html
Grosse Messe in C minor KV 427 Kyrie: czcams.com/video/97Twh_q8lQs/video.html
Grosse Messe in C minor KV 427 Jesu Christe - Cum Sancto Spiritu [double fugue] (27): czcams.com/video/97Twh_q8lQs/video.html
Grosse Messe in C minor KV 427 Sanctus - Osanna [double fugue] (27): czcams.com/video/97Twh_q8lQs/video.html
Adagio and Fugue for String Orchestra in C Minor, K. 546 (32): czcams.com/video/PFXF0Aysh4w/video.html
Fantasia for mechanical organ in F minor K594 (34): czcams.com/video/Qka_HMc2ajc/video.html
Fantasia for mechanical organ in F minor K608 (35): czcams.com/video/Jkh8Re4JUCw/video.html
Overture to Die Zauberflote K620: czcams.com/video/c2TGbfzTx2A/video.html
Der, welcher wandert diese StraBe voll Beschwerden (35): czcams.com/video/kB56nw1zx-o/video.html
Requiem in D minor K626 Introitus: czcams.com/video/sGg2AwyNZA4/video.html
Requiem in D minor K626 Kyrie
(35) czcams.com/video/8ybTabIfLgY/video.html
Requiem in D minor K626 Domine Jesu (35): czcams.com/video/i4DyyUvZws4/video.html
+classical counterpoint in string quartets, quintets, symphonies, concertos (K449: czcams.com/video/NtXTjLLT7Yo/video.html K459: czcams.com/video/61ODdVR2DFo/video.html Canonic Minuet of Serenade for winds in C minor K388 czcams.com/video/qk0MV_cJfvQ/video.html )
Magnificent Counterpoint in the Finale of Mozart's Jupiter Symphony: czcams.com/video/YTxYykhQZbI/video.html
The Ingenious Fugal Finale of Mozart's G Major Quartet, K. 387: czcams.com/video/uoXDHOyfJ-k/video.html
The Incredible Finale of Mozart's K. 590 Quartet in F Major: czcams.com/video/nkbdUjjfRTQ/video.html
Invertible Counterpoint in the Finale of Mozart's D Major String Quintet, K. 593: czcams.com/video/IQbxsGtyc2g/video.html
Mozart: Canon for four voices, in C major, Anh. 191, K 562c: czcams.com/video/YC9bKfzXC18/video.html
Thanks
Nice
THAAAAAANKS !!!!!!!!
Thank you so much!
The fugue is so dissonant, wow! I couldn't believe it when I heard it.
Yeah its dissonant, but a big part of that dissonance you hear in this version is because of the registration. Just listen to a string quartet version
Most string quartets make it sound boring by pulling their punches on the dissonance. It needs to be really deliberate, otherwise what’s the point?
@@ColinHarvey78 Agreed
In the Baroque period, Zelenka made vocal fugues as dissonant as this : czcams.com/video/514zNRA8Jws/video.html
Mozart’s ‘dissonances’ in this disturbing organ masterpiece have mostly been ‘both prepar’d & resolv’d’ following the precepts of Johann Joseph Fux (1725) in his Gradvs ad Parnassum and following general 18th century musical composition Praxis - his ears could not do otherwise - despite some glaringly deliberate ‘dissonant entries of the quirky theme’ - shews just how harmonically far ahead M. was for his time (c. in this case 1784-5)
and the grotesque string of super-dissonances in the C-major string quarter’s adagio introduction are a deliberate illustration of the Masonic dictvm ‘Ordo ab Chao’ (order out of chaos) which Haydn quoted in part in his ‘Representation of Chaos’ introduction to his oratorio ‘Die Schoepfung’ (‘the Creation’) of 1795-6…
Mozart getting out of his comfort zone a bit here. Very cool, the fugue especially.
Mozart didn't have a comfort Zone. He was able to do almost anything
I know what you meant, but still, you should know that Mozart didnt have a comfort zone, or rather his comfort zone simply music, he could do it all, he mastered every single genre of classical music.
Only Bach ever did that, and Beethoven and Handel were pretty close
Fugue begins at 3:22
What's your view on this fugue? It almost sounds like Shostakovitch's fugal writing in some places.
@@gregoryborton6598 The influence of Carl Philipp Emmanuel and Wilhelm Friedemann is arguably stronger in this work than that of Johann Sebastian Bach. The jagged subject, with its "Neapolitanisms", does recall the fugal passages of so many 18th century masses, but those dissonant downbeat appoggiaturas (see, for instance, the simultaneous f - f# - g in measure 7 of the fugue), creating incidental clusters (quickly resolved, but still ...), is a characteristic I'd associate more strongly with the then "avant-garde" movements of Empfindsamkeit and Sturm und Drang (of which Bach's elder sons were notable representatives). The motivic fragmentation (and use of inversion) is a trait that recalls the elder Bach, but the frequent use of developmental sequences is more Handelian.
Hello friend! I was just going to send this to you
So mad, I love it.
man that minor 9th!
I had to double check the score when I heard it - gnarly! Very cool piece for Mozart :)
When does it come in?
@@freepagan,
among others the very first two part sound of the fuga, beginning of measure 4.
do not miss the provoking parallel nones in measure 6 on the beats - they are only augmented, major, and major - ,
nor the cluster like composed first three part sound of measure 7, f-f#-g, on the first beat. augmented octave, minor none again, and major none together.
and - so - on - . all resolving in a classic way of course.
we remember our first couple of tries with the two piano version. almost each second we were like: ooff, am i wrong again. but no, mozart was right again .
That 9th is the first sign of genius in this absolute masterpiece. According to some figured bass treatises of Mozart's period, if it is more than an octave, it's not a true dissonance. So why not try the closest one possible?
Neopolitan 6th?
I wonder if changing the tuning to Werckmeister III would make it sound much different on organ. It is certainly not a coincidence Mozart wrote all of his "experimental" pieces in C minor - the G#-D# fifth is widened, what promotes the use of Mozart's spécialité de la maison, German sixth chord, as well as Neapolitan 6-5. Setting it for string quartet is a clever move, string players can adjust the intervals slightly to be less dissonant as an ensemble. One cannot do that on a keyboard instrument (that's why Mozart transcribed it I think, only the opening of the 'Dissonance' quartet is comparably harmonically daring and it is also written for strings).
You calling the A flat and E flat a G sharp and D sharp while the key is C minor feels really hellish to me
@@windmillwilly that's because when the third voice enters Mozart actually wrote it as a G# so it's not a 6th interval from the tonic but an augmented 5th in his understanding.
"spécialité de la maison" are you French or do you use this expression currently in English ?
@@Pawel_Malecki i should hang myself i feel so foolish
Genial latest Mozart's piece. All tears of world in this dissonances. Unbelievable, superb fugue which maybe compared with Bach's Orgelwerke.
Post K. 400 Mozart is the best composer ever ♡♡
Wolfgang going avant-garde disonant with the fugue... 18th century rebel!
4:25 to 4:40 is my current mental state
Are you ok? Do you need Help?
Max Reger would approve this fugue.
Why such delusional comments ? Bach wouldn't laugh at all.
@@felixmendelssohn4301 is right, I think Bach would actually be jealous, he never wrote a piece even remotely as daring as this overlooked masterpiece.
Bach was a good colleague who never said something offensive to other composers. If you were a well trained craftsman Bach would have respected you as such. Surely he would have done so with Mozart if he had lived long enough to hear his music.
Now that's new
Loved the fugue!
Wonderful performance by *Helmut Schroeder*
Delicious dissonance! 4:08 Love Helmut's A♮pedal trill.
3:22 Fugue. I never liked the Introduction enough to learn it. The fugue is magnificent and wortheffort!
Thank you, GNG, for displaying the score. Haven't seen it in years. I never played the octaves in the pedal.
Did I learn this wrong?? 7:09 Apparently I have added some notes in the pedaline!!
pure genius made to absolute perfection with such an unachievable beauty and madness
I prefer this version than the string version
agree, love this on the organ!
1:46 Curious, great Mozart!
Mozart using organ, I love it
He wrote this for string quartet, not organ.
I love this fugue but preffer it played by strings, the organ dynamics make it sound confused and disturbing. Am I wrong or or this theme a variation of Handel's And with His stripes from Messiah?
Yes, indeed, it was originally written for strings and the clarity of lines and their interlocking and separation are much clearer and ‘make better sense’ the inevitable compression of the transcription is a compromise and, for me, loses the ‘weird’ strangeness of the fugue, which was, I’m certain was Mozart going beyond the convention of the fugal form, the hair raising “runaway steamroller” power of the bass line, towards the conclusion, which comes across with the strings is not nearly as apparent in the transcription.
I am quite sure the fugue was originally composed for two pianos k426.
The version for two pianos was the first I know. It sounds far better than this one.
@@dgpiercer It sounds original and well composed actually. The counterpoint is flawless.
indeed mozart took his own Fuga in c moll for two pianos, he arranged it for string quartet and added an original adagio, kv 546 to that arrangement of kv 426.
in this organ version the player chose nicely to keep the original quaver movements and syncopation in the inner voices of the adagio. they were unnecessarily compressed to long tones in the score shown up.
perhaps you would wish to hear a bit less bombastic register choice to the _forte_ passages ?
OK thanks, i did not know this!
Be aware by the way that i am a great Mozart-fan!!
He explored this direction, which maybe took him too close to Bach for his taste, and then decided to try the integration of a polyphonic and a galant style, where he was able to express his own musical personality in a better way
Why is it that nobody knows about Mozart`s crisis with both Bach and Handel.
@@shnimmuc I know lol
It is described well in Einstein brother's book about him
@@danal81 You are one of the few that does know. The unfinished C minor mass is the most tell tail example.
Mozart was exposed to the counterpoint of Bach and Handel throughout his career.
From the Interlude website;
“During a trip to Bologna, the 14-year-old Wolfgang Amadeus Mozart met the composer and historian Father Giambattista Martini. Martini was considered one of the greatest counterpoint teachers of the eighteenth century. Even Johann Christian Bach, youngest son of Johann Sebastian, had gone to Bologna to study with the Italian master. This meeting proofed rather significant for the young Mozart, since Martini was probably the only Italian at that time who owned a copy of J. S. Bach’s Art of the Fugue. Mozart’s contact with the mastery of the German contrapuntal tradition opened a completely new musical horizon, which he approached via a number of arrangements for String Trio.”
“it was left to Baron Gottfried van Swieten-who penned the libretto for Haydn’s Creation-to keep the old masters alive. In fact, he had one of the biggest private musical manuscript collections in the world... Between 1788 and 1790, Mozart fashioned four Handel arrangements for private performances organized by Baron von Swieten.”
** What's extremely important to understand is that Mozart made a living as a composer and performer. He needed to make money with his music. From the mid to the end of the 18th century, there was a very limited audience for fugues in the style of Handel and Bach. Mozart would experiment with that type of music but he couldn't make that much money writing it. And he needed money.
@@bb1111116 he wasn’t.
He only learned about Bach and Handel in his Vienna years, through baron Van Swieten.
Brutal!
There is a mistake at fourth page, second bar in pedalpart. Instead g sharp should be g natural.
Time point?
O, if Mozart had had 40 more years, he would have changed the -music- world
I would give my life for him to live 40 more years. It hurts my soul someone with such potential would die so early. Why Mozart? Why!
@@LachlanTyrrell2003 .. Franz Schubert, Max Reger too and many other great People died too young.
But they worked very very hard to put out an immense amount of Compositions in a short span of time.
@@rudigerk yes, but I would certainly choose Mozart over Schubert any day. I guess it comes down to taste and preference.
@@LachlanTyrrell2003 Please check out this documentary about Max Reger: czcams.com/video/KGv80K1-bbc/video.html
There is another one in german that explains how he could compose a Double Fugue of 40 Pages for Orchestra in one Day without any Drafts .. he could compose everything in his Head and write it down direct to Paper during a Train Ride.
This is the Fugue that is meant: czcams.com/video/0xcgVt2CsgU/video.html
@@LachlanTyrrell2003 Here is the Score, the Fugue starts at Page 146: imslp.simssa.ca/files/imglnks/usimg/3/37/IMSLP46279-PMLP39697-Reger_op.100_Hiller-Variationen_fs_RGA.pdf
Удивительное разнообразие звуковых эффектов ни до ни после ничего подобного для органа
Это абсолютно верно. Моцарт просто гений, а это произведение, на мой взгляд, одно из лучших его сочинений вообще.
Those octaves... they don’t look like an organ score from the XVIII century. I think this is an adaptation from the piano score.
It's an arrangement by William Best (1826-1897) adapted from the string quartet.
the registration here really turned the fugue into a right mess
yea unfortunately it sounds like mush
@@SatanPanda You need to understand what dissonance means. This fugue is a mesmerizing example of how Mozart was ahead of his time. The very purpose of this great fugue is dissonance. This piece is clever, bold, advanced, intricate. You say "mush"...oh boy...not at all.
I'm inclined to agree. It has SFA to do with the level of dissonance, and everything to do with a registration that buries the lines. Compare this with Olivier Latry using Jean Guillou's transcription here: czcams.com/video/xGqq3hJPXVU/video.html.
@@voxveritatis3815 they are talking about the sound of the instrument, the organ is a mushy instrument, it shouldn't be used for virtuosic music cause you can't hear the notes, it was okay for the prelude
@@ignacioclerici5341 Bach fugue in e minor "wedge" ? It is a extremely virtuosic work for organ.
No pareciera Mozart. Aquí ha vuelto a una época anterior musical, que recuerda a Johann Sebastian Bach. Ha olvidado por suerte el rococó. Enhorabuena!
Epic fugue
A ferocious fugue with contrapuntal jaws and dissonant teeth
8:00
is this a transcription? or dedicated to organ?
it's an organ arrangement, original is for a string quartet
This sounds more like Reger.
Which organ is this recorded on?
I believe it is RHEINBACH, St. Martin, a Rieger organ from year 1983. Hope this helps !
For such a complicated piece like this fugue it is better to play it in a space with a more dry acoustic. Now it is almost impossible to follow it.
Gerard van Reenen honestly I prefer it on Organ, fugues on Organ turn to much more above the original theme on such an instrument, almost more akin to a series or Chords rather than the original Fugue. You don’t listen to a Fugue for the original theme, it’s more what is added to it throughout the piece.
@@wrakatere2907 It is good to play it on organ. But what I mean is: play it in a church with less reverb. Then I can follow it. On this recording it is only a blur of sound.
Gerard van Reenen eh.. good point, I’m more used to Koopman’s recordings of Bach which tend to be similar (although a lot better now that I listen to it again)...
Пять голосов, - это вам не четыре!
Rather messy and muddy with the bland registration
You say this, but also, Mozart's coloring is unique in this piece
Also, have you heard any bach organ music? It all sounds messy, which is baroque as hell
@@DrummanTaylor dude I'm a hardcore bach fan. The registration is a choice of the performer. Gert van hoef is a wonderful organist with amazing choices of expression. The registration is also a characteristic of the individual organ itself. The organ has so many beautiful articulations, but I think it's just a little too muddled and the phrases tend to run together. This could also be partly due to the acoustic venue, though most organists work around those problems with the right pipes and a good understanding of the organ. This piece (imo) needs a little simpler combinations of pipes and a more dynamic change of registration throughout the piece in order to more clearly define the complex passages. Though I'm not typically a mozart fan, a good performer makes it a great experience, but this performance just wasn't there for me. I'm interested to hear in depth on your opinions on the matter.
@@benjaminmarks8765 I actually really enjoy the muddiness, it feels liks the pinnacle of what Mozart's musical intentions were. Specifically, this is the only performance I could find that wasn't the string orchestra arrangement, but the cluttered feeling. I agree though, having more timbrally distinct voices would help clear up a lot of the unintentional blending of the voice, and perhaps would make the entire piece more effective from my point of view. However, i will say that the mental image that accompanies this music is increadibly satisfying, so it's definitely a personal preference
@@DrummanTaylor I suppose to each, his own.
He was drunk when he wrote this...😂
Whatever he was drinking - I need it too.
oh, that is Beethoven himself beating the organ, ┌∩┐(◣_◢)┌∩┐
The registrations are too heavy! Absolutely destroyed the sense of purity and the clear quality of a well structured fugue.
Noisy piece.
You have neither ears nor anything between them
This is certainly nót from Mozart.......
Really nót!!! Who is the faker? Please reveal yourself!
a v This is Mozart.
It is so ahead of its time, it does not sound like it is. But Mozart has some pieces that are incredible advanced in spirit.
harrie spronken try his Fantasies in C minor and D minor KV 396 & 397, for piano
Are you insulting him? He wrote this piece for string quartet. Maybe that's why it sounds so dissonant.
This is an original Mozart piece for strings, in a moderb transcription for organ,