Mozart<\/a><\/em><\/strong>, genio donde los haya, es siempre fascinante por su inventiva: seguimos sorprendi\u00e9ndonos y asombr\u00e1ndonos, incluso despu\u00e9s de escuchar su m\u00fasica por vig\u00e9sima vez, \u00a1por no hablar de ensayarla!<\/p>\n\n\n\nHe aqu\u00ed algunos extractos de su abundante literatura, en 3 partes, todas las piezas se enumeran a continuaci\u00f3n y se completan con los dem\u00e1s movimientos cuando procede (excepto la \u00f3pera):<\/p>\n\n\n\n\nUna compilaci\u00f3n de 3 teclados: clavecin, forte-piano y piano (21′).<\/li>\n\n\n\nUna compilaci\u00f3n de 4 arias extra\u00eddas de \u00f3peras (14′).<\/li>\n\n\n\nUna compilaci\u00f3n de m\u00fasica de c\u00e1mara (22′).<\/li>\n<\/ul>\n\n\n\nCompilaci\u00f3n de 3 teclados<\/h2>\n\n\n\n\nFantas\u00eda en re menor KV 397 para clavec\u00edn<\/li>\n\n\n\nFantas\u00eda en do menor K475 para forte-piano<\/li>\n\n\n\nSonata n\u00ba 8 en la menor, K.310 : 3. Presto – para Piano<\/li>\n<\/ul>\n\n\n\n<\/audio><\/figure>\n\n\n\nCompilaci\u00f3n de 4 arias<\/h2>\n\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Barbarina \u00ab\u00a0Lho perduta me meschina\u00a0\u00bb<\/li>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/li>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os et Pamina<\/li>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/li>\n<\/ul>\n\n\n\n<\/audio><\/figure>\n\n\n\nCompilaci\u00f3n de m\u00fasica de c\u00e1mara<\/h2>\n\n\n\n\nSonata para piano y viol\u00edn n.\u00ba 21 en mi menor K. 304\/300c – 1. Allegro Allegro<\/li>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia\u00a0\u00bb – I. Adagio – Allegro<\/li>\n\n\n\nQuinteto con Clarinete en La Mayor K. 581 – II. Larghetto<\/li>\n<\/ul>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nUna historia de tensi\u00f3n<\/h4>\n\n\n\nLe propongo una reflexi\u00f3n sobre la restauraci\u00f3n y reutilizaci\u00f3n de instrumentos antiguos: \u00bfest\u00e1 a favor o en contra de que Mozart, Beethoven e incluso Chopin se toquen en instrumentos antiguos Forte-piano<\/a> ?<\/p>\n\n\n\nDurante mucho tiempo me pareci\u00f3, digamos, un poco arcaico tocar hoy con instrumentos que a menudo sonaban agrios y con frecuencia desafinaban. Y tampoco me gustaba mucho el clavicordio\u2026 Y luego, con el tiempo, aprend\u00ed a apreciar estos sonidos, estos timbres tan particulares, aunque a veces haya que ajustarse unos segundos antes de que el sonido te cautive.<\/p>\n\n\n\nPor otra parte, es muy interesante escuchar obras creadas con y para estos instrumentos, porque su propia concepci\u00f3n induce a un cierto tipo de articulaci\u00f3n y de tempi. Al igual que con los violines \u00ab\u00a0barrocos\u00a0\u00bb, la principal diferencia radica en la naturaleza de las cuerdas: tripa para los violines, hierro y lat\u00f3n para los clavecines, y acero con alto contenido de carbono para los clavic\u00e9mbalos cuerda de piano<\/a>.<\/p>\n\n\n\nEsta historia de tensi\u00f3n es la causa de todas las tensiones de la historia entre los partidarios de los instrumentos modernos y los partidarios de los instrumentos antiguos. En efecto, aunque las cuerdas de los clavic\u00e9mbalos y los fortepianos est\u00e1n tensas, lo est\u00e1n mucho menos que las de los pianos modernos, cuyos armazones de hierro fundido soportan varias toneladas de presi\u00f3n. Si las cuerdas de los instrumentos barrocos estuvieran tan tensas, o bien se romper\u00edan (lo m\u00e1s probable), o bien el armaz\u00f3n del piano se doblar\u00eda como un arco antes de romperse.Adem\u00e1s, los testigos que vieron y oyeron a Chopin tocar el fortepiano dijeron que sus Fortissimi no eran muy fuertes, sino que ten\u00eda una paleta muy sutil entre piano y forte.<\/p>\n\n\n\nEsto repercute (\u00a1hola!) en la forma de tocar de los fortistas<\/em>: si, a diferencia del clavic\u00e9mbalo, pueden pasar gradualmente de piano a forte en el mismo teclado, \u00a1no hay que exagerar! Adem\u00e1s, la acci\u00f3n de los martillos no dej\u00f3 de mejorar desde principios del siglo XVII hasta mediados del siglo XX. El pianoforte de Mozart no pod\u00eda tocarse excesivamente r\u00e1pido.<\/p>\n\n\n\nTambi\u00e9n hay que recordar que el antepasado del piano no fue el Clavec\u00edn<\/a>, cuerdas pulsadas, pero el Clavicordio<\/a>, con cuerdas pulsadas, lo que sit\u00faa al piano en la familia de la percusi\u00f3n.<\/p>\n\n\n\nMozart nunca conoci\u00f3 el piano moderno, por supuesto. Pero si lo hubiera conocido, no cabe duda de que lo habr\u00eda utilizado y trascendido, al igual que Beethoven, que contribuy\u00f3 al progreso de la pian\u00edstica imaginando obras que en realidad no pod\u00edan ser interpretadas por el instrumento que ten\u00eda a su disposici\u00f3n.<\/p>\n\n\n\nEn definitiva, soy partidario de volver a las ra\u00edces de la interpretaci\u00f3n con instrumentos de \u00e9poca, sin rechazar el uso de instrumentos modernos. Porque en todos los casos, una interpretaci\u00f3n es una recreaci\u00f3n de una obra que pasa por el filtro del int\u00e9rprete, y tambi\u00e9n por el del oyente que est\u00e1 m\u00e1s o menos preparado para nuevas armon\u00edas y sonidos.<\/p>\n\n\n\nEl teclado: del clavec\u00edn al piano, pasando por el forte-piano.<\/h3>\n\n\n\nAs\u00ed que aqu\u00ed tiene un peque\u00f1o viaje por la memoria, con obras de Mozart para clavec\u00edn, forte-piano y piano moderno.<\/p>\n\n\n\nFantas\u00eda para clavec\u00edn en re menor KV 397<\/h4>\n\n\n\nPor Federico Caldara, clavec\u00edn<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nFantas\u00eda en do menor K475<\/h4>\n\n\n\nPor Alexei Lioubimov<\/a>, Forte-pianoEsta es la obra y la versi\u00f3n elegidas para representar a Mozart en el Quizz n\u00b050<\/a>: Serie 1 n\u00b03.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Alfred Brendel<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nY la guinda del pastel: un arreglo para 2 pianos de Edvard Grieg<\/strong>, E.G. 113, n\u00ba 2 (1876-77)Por Sviatoslav Richter<\/a> y Elisabeth Leonskaja<\/a>, pianos<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCuando Grieg a\u00f1adi\u00f3 un segundo acompa\u00f1amiento de piano a las sonatas para teclado de Mozart, lo hizo principalmente con fines pedag\u00f3gicos. Al parecer, en la d\u00e9cada de 1880 era una pr\u00e1ctica habitual que los profesores acompa\u00f1aran a sus alumnos con un segundo piano (mi propio profesor segu\u00eda haci\u00e9ndolo 80 a\u00f1os despu\u00e9s). Pero las composiciones resultantes no tardaron en llegar a las salas de concierto, donde, en palabras de Grieg, \u00ab\u00a0todo sonaba asombrosamente bien\u00a0\u00bb. Lo mismo ocurre hoy en d\u00eda. Al intentar \u00ab\u00a0dar a varias sonatas de Mozart un efecto tonal atractivo para nuestros o\u00eddos modernos\u00a0\u00bb, Grieg dej\u00f3 uno o dos peque\u00f1os documentos que revelan lo que esperaban los o\u00eddos noruegos de finales del siglo XIX.Bartje Bartmans<\/a><\/em><\/p>\n\n\n\nSonata para piano n\u00ba 8 en la menor, K.310<\/h4>\n\n\n\n1. Allegro maestoso – 2. Andante cantabile con espressione – 3. PrestoPor Friedrich Gulda<\/a>, los 3 Movimientos separados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 3 movimientos enlazados : : 1. Allegro maestoso – 2. Andante cantabile con espressione – 3. Presto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nLa voz: extractos de \u00f3pera<\/h3>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Barbarina \u00ab\u00a0Lho perduta me meschina\u00a0\u00bb<\/h4>\n\n\n\nPor Norma Nahoun.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/h4>\n\n\n\nPor Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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He aqu\u00ed algunos extractos de su abundante literatura, en 3 partes, todas las piezas se enumeran a continuaci\u00f3n y se completan con los dem\u00e1s movimientos cuando procede (excepto la \u00f3pera):<\/p>\n\n\n\n
Le propongo una reflexi\u00f3n sobre la restauraci\u00f3n y reutilizaci\u00f3n de instrumentos antiguos: \u00bfest\u00e1 a favor o en contra de que Mozart, Beethoven e incluso Chopin se toquen en instrumentos antiguos Forte-piano<\/a> ?<\/p>\n\n\n\nDurante mucho tiempo me pareci\u00f3, digamos, un poco arcaico tocar hoy con instrumentos que a menudo sonaban agrios y con frecuencia desafinaban. Y tampoco me gustaba mucho el clavicordio\u2026 Y luego, con el tiempo, aprend\u00ed a apreciar estos sonidos, estos timbres tan particulares, aunque a veces haya que ajustarse unos segundos antes de que el sonido te cautive.<\/p>\n\n\n\nPor otra parte, es muy interesante escuchar obras creadas con y para estos instrumentos, porque su propia concepci\u00f3n induce a un cierto tipo de articulaci\u00f3n y de tempi. Al igual que con los violines \u00ab\u00a0barrocos\u00a0\u00bb, la principal diferencia radica en la naturaleza de las cuerdas: tripa para los violines, hierro y lat\u00f3n para los clavecines, y acero con alto contenido de carbono para los clavic\u00e9mbalos cuerda de piano<\/a>.<\/p>\n\n\n\nEsta historia de tensi\u00f3n es la causa de todas las tensiones de la historia entre los partidarios de los instrumentos modernos y los partidarios de los instrumentos antiguos. En efecto, aunque las cuerdas de los clavic\u00e9mbalos y los fortepianos est\u00e1n tensas, lo est\u00e1n mucho menos que las de los pianos modernos, cuyos armazones de hierro fundido soportan varias toneladas de presi\u00f3n. Si las cuerdas de los instrumentos barrocos estuvieran tan tensas, o bien se romper\u00edan (lo m\u00e1s probable), o bien el armaz\u00f3n del piano se doblar\u00eda como un arco antes de romperse.Adem\u00e1s, los testigos que vieron y oyeron a Chopin tocar el fortepiano dijeron que sus Fortissimi no eran muy fuertes, sino que ten\u00eda una paleta muy sutil entre piano y forte.<\/p>\n\n\n\nEsto repercute (\u00a1hola!) en la forma de tocar de los fortistas<\/em>: si, a diferencia del clavic\u00e9mbalo, pueden pasar gradualmente de piano a forte en el mismo teclado, \u00a1no hay que exagerar! Adem\u00e1s, la acci\u00f3n de los martillos no dej\u00f3 de mejorar desde principios del siglo XVII hasta mediados del siglo XX. El pianoforte de Mozart no pod\u00eda tocarse excesivamente r\u00e1pido.<\/p>\n\n\n\nTambi\u00e9n hay que recordar que el antepasado del piano no fue el Clavec\u00edn<\/a>, cuerdas pulsadas, pero el Clavicordio<\/a>, con cuerdas pulsadas, lo que sit\u00faa al piano en la familia de la percusi\u00f3n.<\/p>\n\n\n\nMozart nunca conoci\u00f3 el piano moderno, por supuesto. Pero si lo hubiera conocido, no cabe duda de que lo habr\u00eda utilizado y trascendido, al igual que Beethoven, que contribuy\u00f3 al progreso de la pian\u00edstica imaginando obras que en realidad no pod\u00edan ser interpretadas por el instrumento que ten\u00eda a su disposici\u00f3n.<\/p>\n\n\n\nEn definitiva, soy partidario de volver a las ra\u00edces de la interpretaci\u00f3n con instrumentos de \u00e9poca, sin rechazar el uso de instrumentos modernos. Porque en todos los casos, una interpretaci\u00f3n es una recreaci\u00f3n de una obra que pasa por el filtro del int\u00e9rprete, y tambi\u00e9n por el del oyente que est\u00e1 m\u00e1s o menos preparado para nuevas armon\u00edas y sonidos.<\/p>\n\n\n\nEl teclado: del clavec\u00edn al piano, pasando por el forte-piano.<\/h3>\n\n\n\nAs\u00ed que aqu\u00ed tiene un peque\u00f1o viaje por la memoria, con obras de Mozart para clavec\u00edn, forte-piano y piano moderno.<\/p>\n\n\n\nFantas\u00eda para clavec\u00edn en re menor KV 397<\/h4>\n\n\n\nPor Federico Caldara, clavec\u00edn<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nFantas\u00eda en do menor K475<\/h4>\n\n\n\nPor Alexei Lioubimov<\/a>, Forte-pianoEsta es la obra y la versi\u00f3n elegidas para representar a Mozart en el Quizz n\u00b050<\/a>: Serie 1 n\u00b03.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Alfred Brendel<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nY la guinda del pastel: un arreglo para 2 pianos de Edvard Grieg<\/strong>, E.G. 113, n\u00ba 2 (1876-77)Por Sviatoslav Richter<\/a> y Elisabeth Leonskaja<\/a>, pianos<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCuando Grieg a\u00f1adi\u00f3 un segundo acompa\u00f1amiento de piano a las sonatas para teclado de Mozart, lo hizo principalmente con fines pedag\u00f3gicos. Al parecer, en la d\u00e9cada de 1880 era una pr\u00e1ctica habitual que los profesores acompa\u00f1aran a sus alumnos con un segundo piano (mi propio profesor segu\u00eda haci\u00e9ndolo 80 a\u00f1os despu\u00e9s). Pero las composiciones resultantes no tardaron en llegar a las salas de concierto, donde, en palabras de Grieg, \u00ab\u00a0todo sonaba asombrosamente bien\u00a0\u00bb. Lo mismo ocurre hoy en d\u00eda. Al intentar \u00ab\u00a0dar a varias sonatas de Mozart un efecto tonal atractivo para nuestros o\u00eddos modernos\u00a0\u00bb, Grieg dej\u00f3 uno o dos peque\u00f1os documentos que revelan lo que esperaban los o\u00eddos noruegos de finales del siglo XIX.Bartje Bartmans<\/a><\/em><\/p>\n\n\n\nSonata para piano n\u00ba 8 en la menor, K.310<\/h4>\n\n\n\n1. Allegro maestoso – 2. Andante cantabile con espressione – 3. PrestoPor Friedrich Gulda<\/a>, los 3 Movimientos separados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 3 movimientos enlazados : : 1. Allegro maestoso – 2. Andante cantabile con espressione – 3. Presto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nLa voz: extractos de \u00f3pera<\/h3>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Barbarina \u00ab\u00a0Lho perduta me meschina\u00a0\u00bb<\/h4>\n\n\n\nPor Norma Nahoun.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/h4>\n\n\n\nPor Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Durante mucho tiempo me pareci\u00f3, digamos, un poco arcaico tocar hoy con instrumentos que a menudo sonaban agrios y con frecuencia desafinaban. Y tampoco me gustaba mucho el clavicordio\u2026 Y luego, con el tiempo, aprend\u00ed a apreciar estos sonidos, estos timbres tan particulares, aunque a veces haya que ajustarse unos segundos antes de que el sonido te cautive.<\/p>\n\n\n\n
Por otra parte, es muy interesante escuchar obras creadas con y para estos instrumentos, porque su propia concepci\u00f3n induce a un cierto tipo de articulaci\u00f3n y de tempi. Al igual que con los violines \u00ab\u00a0barrocos\u00a0\u00bb, la principal diferencia radica en la naturaleza de las cuerdas: tripa para los violines, hierro y lat\u00f3n para los clavecines, y acero con alto contenido de carbono para los clavic\u00e9mbalos cuerda de piano<\/a>.<\/p>\n\n\n\nEsta historia de tensi\u00f3n es la causa de todas las tensiones de la historia entre los partidarios de los instrumentos modernos y los partidarios de los instrumentos antiguos. En efecto, aunque las cuerdas de los clavic\u00e9mbalos y los fortepianos est\u00e1n tensas, lo est\u00e1n mucho menos que las de los pianos modernos, cuyos armazones de hierro fundido soportan varias toneladas de presi\u00f3n. Si las cuerdas de los instrumentos barrocos estuvieran tan tensas, o bien se romper\u00edan (lo m\u00e1s probable), o bien el armaz\u00f3n del piano se doblar\u00eda como un arco antes de romperse.Adem\u00e1s, los testigos que vieron y oyeron a Chopin tocar el fortepiano dijeron que sus Fortissimi no eran muy fuertes, sino que ten\u00eda una paleta muy sutil entre piano y forte.<\/p>\n\n\n\nEsto repercute (\u00a1hola!) en la forma de tocar de los fortistas<\/em>: si, a diferencia del clavic\u00e9mbalo, pueden pasar gradualmente de piano a forte en el mismo teclado, \u00a1no hay que exagerar! Adem\u00e1s, la acci\u00f3n de los martillos no dej\u00f3 de mejorar desde principios del siglo XVII hasta mediados del siglo XX. El pianoforte de Mozart no pod\u00eda tocarse excesivamente r\u00e1pido.<\/p>\n\n\n\nTambi\u00e9n hay que recordar que el antepasado del piano no fue el Clavec\u00edn<\/a>, cuerdas pulsadas, pero el Clavicordio<\/a>, con cuerdas pulsadas, lo que sit\u00faa al piano en la familia de la percusi\u00f3n.<\/p>\n\n\n\nMozart nunca conoci\u00f3 el piano moderno, por supuesto. Pero si lo hubiera conocido, no cabe duda de que lo habr\u00eda utilizado y trascendido, al igual que Beethoven, que contribuy\u00f3 al progreso de la pian\u00edstica imaginando obras que en realidad no pod\u00edan ser interpretadas por el instrumento que ten\u00eda a su disposici\u00f3n.<\/p>\n\n\n\nEn definitiva, soy partidario de volver a las ra\u00edces de la interpretaci\u00f3n con instrumentos de \u00e9poca, sin rechazar el uso de instrumentos modernos. Porque en todos los casos, una interpretaci\u00f3n es una recreaci\u00f3n de una obra que pasa por el filtro del int\u00e9rprete, y tambi\u00e9n por el del oyente que est\u00e1 m\u00e1s o menos preparado para nuevas armon\u00edas y sonidos.<\/p>\n\n\n\nEl teclado: del clavec\u00edn al piano, pasando por el forte-piano.<\/h3>\n\n\n\nAs\u00ed que aqu\u00ed tiene un peque\u00f1o viaje por la memoria, con obras de Mozart para clavec\u00edn, forte-piano y piano moderno.<\/p>\n\n\n\nFantas\u00eda para clavec\u00edn en re menor KV 397<\/h4>\n\n\n\nPor Federico Caldara, clavec\u00edn<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nFantas\u00eda en do menor K475<\/h4>\n\n\n\nPor Alexei Lioubimov<\/a>, Forte-pianoEsta es la obra y la versi\u00f3n elegidas para representar a Mozart en el Quizz n\u00b050<\/a>: Serie 1 n\u00b03.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Alfred Brendel<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nY la guinda del pastel: un arreglo para 2 pianos de Edvard Grieg<\/strong>, E.G. 113, n\u00ba 2 (1876-77)Por Sviatoslav Richter<\/a> y Elisabeth Leonskaja<\/a>, pianos<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCuando Grieg a\u00f1adi\u00f3 un segundo acompa\u00f1amiento de piano a las sonatas para teclado de Mozart, lo hizo principalmente con fines pedag\u00f3gicos. Al parecer, en la d\u00e9cada de 1880 era una pr\u00e1ctica habitual que los profesores acompa\u00f1aran a sus alumnos con un segundo piano (mi propio profesor segu\u00eda haci\u00e9ndolo 80 a\u00f1os despu\u00e9s). Pero las composiciones resultantes no tardaron en llegar a las salas de concierto, donde, en palabras de Grieg, \u00ab\u00a0todo sonaba asombrosamente bien\u00a0\u00bb. Lo mismo ocurre hoy en d\u00eda. Al intentar \u00ab\u00a0dar a varias sonatas de Mozart un efecto tonal atractivo para nuestros o\u00eddos modernos\u00a0\u00bb, Grieg dej\u00f3 uno o dos peque\u00f1os documentos que revelan lo que esperaban los o\u00eddos noruegos de finales del siglo XIX.Bartje Bartmans<\/a><\/em><\/p>\n\n\n\nSonata para piano n\u00ba 8 en la menor, K.310<\/h4>\n\n\n\n1. Allegro maestoso – 2. Andante cantabile con espressione – 3. PrestoPor Friedrich Gulda<\/a>, los 3 Movimientos separados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 3 movimientos enlazados : : 1. Allegro maestoso – 2. Andante cantabile con espressione – 3. Presto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nLa voz: extractos de \u00f3pera<\/h3>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Barbarina \u00ab\u00a0Lho perduta me meschina\u00a0\u00bb<\/h4>\n\n\n\nPor Norma Nahoun.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/h4>\n\n\n\nPor Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Esta historia de tensi\u00f3n es la causa de todas las tensiones de la historia entre los partidarios de los instrumentos modernos y los partidarios de los instrumentos antiguos. En efecto, aunque las cuerdas de los clavic\u00e9mbalos y los fortepianos est\u00e1n tensas, lo est\u00e1n mucho menos que las de los pianos modernos, cuyos armazones de hierro fundido soportan varias toneladas de presi\u00f3n. Si las cuerdas de los instrumentos barrocos estuvieran tan tensas, o bien se romper\u00edan (lo m\u00e1s probable), o bien el armaz\u00f3n del piano se doblar\u00eda como un arco antes de romperse.Adem\u00e1s, los testigos que vieron y oyeron a Chopin tocar el fortepiano dijeron que sus Fortissimi no eran muy fuertes, sino que ten\u00eda una paleta muy sutil entre piano y forte.<\/p>\n\n\n\n
Esto repercute (\u00a1hola!) en la forma de tocar de los fortistas<\/em>: si, a diferencia del clavic\u00e9mbalo, pueden pasar gradualmente de piano a forte en el mismo teclado, \u00a1no hay que exagerar! Adem\u00e1s, la acci\u00f3n de los martillos no dej\u00f3 de mejorar desde principios del siglo XVII hasta mediados del siglo XX. El pianoforte de Mozart no pod\u00eda tocarse excesivamente r\u00e1pido.<\/p>\n\n\n\nTambi\u00e9n hay que recordar que el antepasado del piano no fue el Clavec\u00edn<\/a>, cuerdas pulsadas, pero el Clavicordio<\/a>, con cuerdas pulsadas, lo que sit\u00faa al piano en la familia de la percusi\u00f3n.<\/p>\n\n\n\nMozart nunca conoci\u00f3 el piano moderno, por supuesto. Pero si lo hubiera conocido, no cabe duda de que lo habr\u00eda utilizado y trascendido, al igual que Beethoven, que contribuy\u00f3 al progreso de la pian\u00edstica imaginando obras que en realidad no pod\u00edan ser interpretadas por el instrumento que ten\u00eda a su disposici\u00f3n.<\/p>\n\n\n\nEn definitiva, soy partidario de volver a las ra\u00edces de la interpretaci\u00f3n con instrumentos de \u00e9poca, sin rechazar el uso de instrumentos modernos. Porque en todos los casos, una interpretaci\u00f3n es una recreaci\u00f3n de una obra que pasa por el filtro del int\u00e9rprete, y tambi\u00e9n por el del oyente que est\u00e1 m\u00e1s o menos preparado para nuevas armon\u00edas y sonidos.<\/p>\n\n\n\nEl teclado: del clavec\u00edn al piano, pasando por el forte-piano.<\/h3>\n\n\n\nAs\u00ed que aqu\u00ed tiene un peque\u00f1o viaje por la memoria, con obras de Mozart para clavec\u00edn, forte-piano y piano moderno.<\/p>\n\n\n\nFantas\u00eda para clavec\u00edn en re menor KV 397<\/h4>\n\n\n\nPor Federico Caldara, clavec\u00edn<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nFantas\u00eda en do menor K475<\/h4>\n\n\n\nPor Alexei Lioubimov<\/a>, Forte-pianoEsta es la obra y la versi\u00f3n elegidas para representar a Mozart en el Quizz n\u00b050<\/a>: Serie 1 n\u00b03.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Alfred Brendel<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nY la guinda del pastel: un arreglo para 2 pianos de Edvard Grieg<\/strong>, E.G. 113, n\u00ba 2 (1876-77)Por Sviatoslav Richter<\/a> y Elisabeth Leonskaja<\/a>, pianos<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCuando Grieg a\u00f1adi\u00f3 un segundo acompa\u00f1amiento de piano a las sonatas para teclado de Mozart, lo hizo principalmente con fines pedag\u00f3gicos. Al parecer, en la d\u00e9cada de 1880 era una pr\u00e1ctica habitual que los profesores acompa\u00f1aran a sus alumnos con un segundo piano (mi propio profesor segu\u00eda haci\u00e9ndolo 80 a\u00f1os despu\u00e9s). Pero las composiciones resultantes no tardaron en llegar a las salas de concierto, donde, en palabras de Grieg, \u00ab\u00a0todo sonaba asombrosamente bien\u00a0\u00bb. Lo mismo ocurre hoy en d\u00eda. Al intentar \u00ab\u00a0dar a varias sonatas de Mozart un efecto tonal atractivo para nuestros o\u00eddos modernos\u00a0\u00bb, Grieg dej\u00f3 uno o dos peque\u00f1os documentos que revelan lo que esperaban los o\u00eddos noruegos de finales del siglo XIX.Bartje Bartmans<\/a><\/em><\/p>\n\n\n\nSonata para piano n\u00ba 8 en la menor, K.310<\/h4>\n\n\n\n1. Allegro maestoso – 2. Andante cantabile con espressione – 3. PrestoPor Friedrich Gulda<\/a>, los 3 Movimientos separados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 3 movimientos enlazados : : 1. Allegro maestoso – 2. Andante cantabile con espressione – 3. Presto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nLa voz: extractos de \u00f3pera<\/h3>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Barbarina \u00ab\u00a0Lho perduta me meschina\u00a0\u00bb<\/h4>\n\n\n\nPor Norma Nahoun.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/h4>\n\n\n\nPor Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.","breadcrumb":{"@id":"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/#breadcrumb"},"inLanguage":"fr-FR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/"]}]},{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/#primaryimage","url":"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/12\/Mozart.jpg","contentUrl":"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/12\/Mozart.jpg","width":600,"height":318,"caption":"Wolfgang-Amadeus Mozart"},{"@type":"BreadcrumbList","@id":"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/pigyki.fr\/"},{"@type":"ListItem","position":2,"name":"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart"}]},{"@type":"WebSite","@id":"https:\/\/pigyki.fr\/#website","url":"https:\/\/pigyki.fr\/","name":"Pigyki","description":"C.L. al fine","publisher":{"@id":"https:\/\/pigyki.fr\/#\/schema\/person\/69b76bc8a17bddaf3ffd40d3cc9a4161"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/pigyki.fr\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"fr-FR"},{"@type":["Person","Organization"],"@id":"https:\/\/pigyki.fr\/#\/schema\/person\/69b76bc8a17bddaf3ffd40d3cc9a4161","name":"Pigyki","image":{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/pigyki.fr\/wp-content\/uploads\/2023\/06\/Logo-CL.jpg","url":"https:\/\/pigyki.fr\/wp-content\/uploads\/2023\/06\/Logo-CL.jpg","contentUrl":"https:\/\/pigyki.fr\/wp-content\/uploads\/2023\/06\/Logo-CL.jpg","width":524,"height":586,"caption":"Pigyki"},"logo":{"@id":"https:\/\/pigyki.fr\/wp-content\/uploads\/2023\/06\/Logo-CL.jpg"},"sameAs":["http:\/\/pigyki.fr"],"url":"https:\/\/pigyki.fr\/index.php\/author\/admin4451\/"}]}},"_links":{"self":[{"href":"https:\/\/pigyki.fr\/index.php\/wp-json\/wp\/v2\/posts\/3946","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pigyki.fr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pigyki.fr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pigyki.fr\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/pigyki.fr\/index.php\/wp-json\/wp\/v2\/comments?post=3946"}],"version-history":[{"count":28,"href":"https:\/\/pigyki.fr\/index.php\/wp-json\/wp\/v2\/posts\/3946\/revisions"}],"predecessor-version":[{"id":4028,"href":"https:\/\/pigyki.fr\/index.php\/wp-json\/wp\/v2\/posts\/3946\/revisions\/4028"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pigyki.fr\/index.php\/wp-json\/wp\/v2\/media\/3925"}],"wp:attachment":[{"href":"https:\/\/pigyki.fr\/index.php\/wp-json\/wp\/v2\/media?parent=3946"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pigyki.fr\/index.php\/wp-json\/wp\/v2\/categories?post=3946"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pigyki.fr\/index.php\/wp-json\/wp\/v2\/tags?post=3946"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Tambi\u00e9n hay que recordar que el antepasado del piano no fue el Clavec\u00edn<\/a>, cuerdas pulsadas, pero el Clavicordio<\/a>, con cuerdas pulsadas, lo que sit\u00faa al piano en la familia de la percusi\u00f3n.<\/p>\n\n\n\nMozart nunca conoci\u00f3 el piano moderno, por supuesto. Pero si lo hubiera conocido, no cabe duda de que lo habr\u00eda utilizado y trascendido, al igual que Beethoven, que contribuy\u00f3 al progreso de la pian\u00edstica imaginando obras que en realidad no pod\u00edan ser interpretadas por el instrumento que ten\u00eda a su disposici\u00f3n.<\/p>\n\n\n\nEn definitiva, soy partidario de volver a las ra\u00edces de la interpretaci\u00f3n con instrumentos de \u00e9poca, sin rechazar el uso de instrumentos modernos. Porque en todos los casos, una interpretaci\u00f3n es una recreaci\u00f3n de una obra que pasa por el filtro del int\u00e9rprete, y tambi\u00e9n por el del oyente que est\u00e1 m\u00e1s o menos preparado para nuevas armon\u00edas y sonidos.<\/p>\n\n\n\nEl teclado: del clavec\u00edn al piano, pasando por el forte-piano.<\/h3>\n\n\n\nAs\u00ed que aqu\u00ed tiene un peque\u00f1o viaje por la memoria, con obras de Mozart para clavec\u00edn, forte-piano y piano moderno.<\/p>\n\n\n\nFantas\u00eda para clavec\u00edn en re menor KV 397<\/h4>\n\n\n\nPor Federico Caldara, clavec\u00edn<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nFantas\u00eda en do menor K475<\/h4>\n\n\n\nPor Alexei Lioubimov<\/a>, Forte-pianoEsta es la obra y la versi\u00f3n elegidas para representar a Mozart en el Quizz n\u00b050<\/a>: Serie 1 n\u00b03.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Alfred Brendel<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nY la guinda del pastel: un arreglo para 2 pianos de Edvard Grieg<\/strong>, E.G. 113, n\u00ba 2 (1876-77)Por Sviatoslav Richter<\/a> y Elisabeth Leonskaja<\/a>, pianos<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCuando Grieg a\u00f1adi\u00f3 un segundo acompa\u00f1amiento de piano a las sonatas para teclado de Mozart, lo hizo principalmente con fines pedag\u00f3gicos. Al parecer, en la d\u00e9cada de 1880 era una pr\u00e1ctica habitual que los profesores acompa\u00f1aran a sus alumnos con un segundo piano (mi propio profesor segu\u00eda haci\u00e9ndolo 80 a\u00f1os despu\u00e9s). Pero las composiciones resultantes no tardaron en llegar a las salas de concierto, donde, en palabras de Grieg, \u00ab\u00a0todo sonaba asombrosamente bien\u00a0\u00bb. Lo mismo ocurre hoy en d\u00eda. Al intentar \u00ab\u00a0dar a varias sonatas de Mozart un efecto tonal atractivo para nuestros o\u00eddos modernos\u00a0\u00bb, Grieg dej\u00f3 uno o dos peque\u00f1os documentos que revelan lo que esperaban los o\u00eddos noruegos de finales del siglo XIX.Bartje Bartmans<\/a><\/em><\/p>\n\n\n\nSonata para piano n\u00ba 8 en la menor, K.310<\/h4>\n\n\n\n1. Allegro maestoso – 2. Andante cantabile con espressione – 3. PrestoPor Friedrich Gulda<\/a>, los 3 Movimientos separados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 3 movimientos enlazados : : 1. Allegro maestoso – 2. Andante cantabile con espressione – 3. Presto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nLa voz: extractos de \u00f3pera<\/h3>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Barbarina \u00ab\u00a0Lho perduta me meschina\u00a0\u00bb<\/h4>\n\n\n\nPor Norma Nahoun.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/h4>\n\n\n\nPor Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Mozart nunca conoci\u00f3 el piano moderno, por supuesto. Pero si lo hubiera conocido, no cabe duda de que lo habr\u00eda utilizado y trascendido, al igual que Beethoven, que contribuy\u00f3 al progreso de la pian\u00edstica imaginando obras que en realidad no pod\u00edan ser interpretadas por el instrumento que ten\u00eda a su disposici\u00f3n.<\/p>\n\n\n\n
En definitiva, soy partidario de volver a las ra\u00edces de la interpretaci\u00f3n con instrumentos de \u00e9poca, sin rechazar el uso de instrumentos modernos. Porque en todos los casos, una interpretaci\u00f3n es una recreaci\u00f3n de una obra que pasa por el filtro del int\u00e9rprete, y tambi\u00e9n por el del oyente que est\u00e1 m\u00e1s o menos preparado para nuevas armon\u00edas y sonidos.<\/p>\n\n\n\n
As\u00ed que aqu\u00ed tiene un peque\u00f1o viaje por la memoria, con obras de Mozart para clavec\u00edn, forte-piano y piano moderno.<\/p>\n\n\n\n
Por Federico Caldara, clavec\u00edn<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nFantas\u00eda en do menor K475<\/h4>\n\n\n\nPor Alexei Lioubimov<\/a>, Forte-pianoEsta es la obra y la versi\u00f3n elegidas para representar a Mozart en el Quizz n\u00b050<\/a>: Serie 1 n\u00b03.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Alfred Brendel<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nY la guinda del pastel: un arreglo para 2 pianos de Edvard Grieg<\/strong>, E.G. 113, n\u00ba 2 (1876-77)Por Sviatoslav Richter<\/a> y Elisabeth Leonskaja<\/a>, pianos<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCuando Grieg a\u00f1adi\u00f3 un segundo acompa\u00f1amiento de piano a las sonatas para teclado de Mozart, lo hizo principalmente con fines pedag\u00f3gicos. Al parecer, en la d\u00e9cada de 1880 era una pr\u00e1ctica habitual que los profesores acompa\u00f1aran a sus alumnos con un segundo piano (mi propio profesor segu\u00eda haci\u00e9ndolo 80 a\u00f1os despu\u00e9s). Pero las composiciones resultantes no tardaron en llegar a las salas de concierto, donde, en palabras de Grieg, \u00ab\u00a0todo sonaba asombrosamente bien\u00a0\u00bb. Lo mismo ocurre hoy en d\u00eda. Al intentar \u00ab\u00a0dar a varias sonatas de Mozart un efecto tonal atractivo para nuestros o\u00eddos modernos\u00a0\u00bb, Grieg dej\u00f3 uno o dos peque\u00f1os documentos que revelan lo que esperaban los o\u00eddos noruegos de finales del siglo XIX.Bartje Bartmans<\/a><\/em><\/p>\n\n\n\nSonata para piano n\u00ba 8 en la menor, K.310<\/h4>\n\n\n\n1. Allegro maestoso – 2. Andante cantabile con espressione – 3. PrestoPor Friedrich Gulda<\/a>, los 3 Movimientos separados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 3 movimientos enlazados : : 1. Allegro maestoso – 2. Andante cantabile con espressione – 3. Presto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nLa voz: extractos de \u00f3pera<\/h3>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Barbarina \u00ab\u00a0Lho perduta me meschina\u00a0\u00bb<\/h4>\n\n\n\nPor Norma Nahoun.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/h4>\n\n\n\nPor Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Por Alexei Lioubimov<\/a>, Forte-pianoEsta es la obra y la versi\u00f3n elegidas para representar a Mozart en el Quizz n\u00b050<\/a>: Serie 1 n\u00b03.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Alfred Brendel<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nY la guinda del pastel: un arreglo para 2 pianos de Edvard Grieg<\/strong>, E.G. 113, n\u00ba 2 (1876-77)Por Sviatoslav Richter<\/a> y Elisabeth Leonskaja<\/a>, pianos<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCuando Grieg a\u00f1adi\u00f3 un segundo acompa\u00f1amiento de piano a las sonatas para teclado de Mozart, lo hizo principalmente con fines pedag\u00f3gicos. Al parecer, en la d\u00e9cada de 1880 era una pr\u00e1ctica habitual que los profesores acompa\u00f1aran a sus alumnos con un segundo piano (mi propio profesor segu\u00eda haci\u00e9ndolo 80 a\u00f1os despu\u00e9s). Pero las composiciones resultantes no tardaron en llegar a las salas de concierto, donde, en palabras de Grieg, \u00ab\u00a0todo sonaba asombrosamente bien\u00a0\u00bb. Lo mismo ocurre hoy en d\u00eda. Al intentar \u00ab\u00a0dar a varias sonatas de Mozart un efecto tonal atractivo para nuestros o\u00eddos modernos\u00a0\u00bb, Grieg dej\u00f3 uno o dos peque\u00f1os documentos que revelan lo que esperaban los o\u00eddos noruegos de finales del siglo XIX.Bartje Bartmans<\/a><\/em><\/p>\n\n\n\nSonata para piano n\u00ba 8 en la menor, K.310<\/h4>\n\n\n\n1. Allegro maestoso – 2. Andante cantabile con espressione – 3. PrestoPor Friedrich Gulda<\/a>, los 3 Movimientos separados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 3 movimientos enlazados : : 1. Allegro maestoso – 2. Andante cantabile con espressione – 3. Presto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nLa voz: extractos de \u00f3pera<\/h3>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Barbarina \u00ab\u00a0Lho perduta me meschina\u00a0\u00bb<\/h4>\n\n\n\nPor Norma Nahoun.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/h4>\n\n\n\nPor Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Por Alfred Brendel<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nY la guinda del pastel: un arreglo para 2 pianos de Edvard Grieg<\/strong>, E.G. 113, n\u00ba 2 (1876-77)Por Sviatoslav Richter<\/a> y Elisabeth Leonskaja<\/a>, pianos<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCuando Grieg a\u00f1adi\u00f3 un segundo acompa\u00f1amiento de piano a las sonatas para teclado de Mozart, lo hizo principalmente con fines pedag\u00f3gicos. Al parecer, en la d\u00e9cada de 1880 era una pr\u00e1ctica habitual que los profesores acompa\u00f1aran a sus alumnos con un segundo piano (mi propio profesor segu\u00eda haci\u00e9ndolo 80 a\u00f1os despu\u00e9s). Pero las composiciones resultantes no tardaron en llegar a las salas de concierto, donde, en palabras de Grieg, \u00ab\u00a0todo sonaba asombrosamente bien\u00a0\u00bb. Lo mismo ocurre hoy en d\u00eda. Al intentar \u00ab\u00a0dar a varias sonatas de Mozart un efecto tonal atractivo para nuestros o\u00eddos modernos\u00a0\u00bb, Grieg dej\u00f3 uno o dos peque\u00f1os documentos que revelan lo que esperaban los o\u00eddos noruegos de finales del siglo XIX.Bartje Bartmans<\/a><\/em><\/p>\n\n\n\nSonata para piano n\u00ba 8 en la menor, K.310<\/h4>\n\n\n\n1. Allegro maestoso – 2. Andante cantabile con espressione – 3. PrestoPor Friedrich Gulda<\/a>, los 3 Movimientos separados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 3 movimientos enlazados : : 1. Allegro maestoso – 2. Andante cantabile con espressione – 3. Presto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nLa voz: extractos de \u00f3pera<\/h3>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Barbarina \u00ab\u00a0Lho perduta me meschina\u00a0\u00bb<\/h4>\n\n\n\nPor Norma Nahoun.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/h4>\n\n\n\nPor Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Y la guinda del pastel: un arreglo para 2 pianos de Edvard Grieg<\/strong>, E.G. 113, n\u00ba 2 (1876-77)Por Sviatoslav Richter<\/a> y Elisabeth Leonskaja<\/a>, pianos<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCuando Grieg a\u00f1adi\u00f3 un segundo acompa\u00f1amiento de piano a las sonatas para teclado de Mozart, lo hizo principalmente con fines pedag\u00f3gicos. Al parecer, en la d\u00e9cada de 1880 era una pr\u00e1ctica habitual que los profesores acompa\u00f1aran a sus alumnos con un segundo piano (mi propio profesor segu\u00eda haci\u00e9ndolo 80 a\u00f1os despu\u00e9s). Pero las composiciones resultantes no tardaron en llegar a las salas de concierto, donde, en palabras de Grieg, \u00ab\u00a0todo sonaba asombrosamente bien\u00a0\u00bb. Lo mismo ocurre hoy en d\u00eda. Al intentar \u00ab\u00a0dar a varias sonatas de Mozart un efecto tonal atractivo para nuestros o\u00eddos modernos\u00a0\u00bb, Grieg dej\u00f3 uno o dos peque\u00f1os documentos que revelan lo que esperaban los o\u00eddos noruegos de finales del siglo XIX.Bartje Bartmans<\/a><\/em><\/p>\n\n\n\nSonata para piano n\u00ba 8 en la menor, K.310<\/h4>\n\n\n\n1. Allegro maestoso – 2. Andante cantabile con espressione – 3. PrestoPor Friedrich Gulda<\/a>, los 3 Movimientos separados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 3 movimientos enlazados : : 1. Allegro maestoso – 2. Andante cantabile con espressione – 3. Presto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nLa voz: extractos de \u00f3pera<\/h3>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Barbarina \u00ab\u00a0Lho perduta me meschina\u00a0\u00bb<\/h4>\n\n\n\nPor Norma Nahoun.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/h4>\n\n\n\nPor Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Cuando Grieg a\u00f1adi\u00f3 un segundo acompa\u00f1amiento de piano a las sonatas para teclado de Mozart, lo hizo principalmente con fines pedag\u00f3gicos. Al parecer, en la d\u00e9cada de 1880 era una pr\u00e1ctica habitual que los profesores acompa\u00f1aran a sus alumnos con un segundo piano (mi propio profesor segu\u00eda haci\u00e9ndolo 80 a\u00f1os despu\u00e9s). Pero las composiciones resultantes no tardaron en llegar a las salas de concierto, donde, en palabras de Grieg, \u00ab\u00a0todo sonaba asombrosamente bien\u00a0\u00bb. Lo mismo ocurre hoy en d\u00eda. Al intentar \u00ab\u00a0dar a varias sonatas de Mozart un efecto tonal atractivo para nuestros o\u00eddos modernos\u00a0\u00bb, Grieg dej\u00f3 uno o dos peque\u00f1os documentos que revelan lo que esperaban los o\u00eddos noruegos de finales del siglo XIX.Bartje Bartmans<\/a><\/em><\/p>\n\n\n\nSonata para piano n\u00ba 8 en la menor, K.310<\/h4>\n\n\n\n1. Allegro maestoso – 2. Andante cantabile con espressione – 3. PrestoPor Friedrich Gulda<\/a>, los 3 Movimientos separados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 3 movimientos enlazados : : 1. Allegro maestoso – 2. Andante cantabile con espressione – 3. Presto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nLa voz: extractos de \u00f3pera<\/h3>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Barbarina \u00ab\u00a0Lho perduta me meschina\u00a0\u00bb<\/h4>\n\n\n\nPor Norma Nahoun.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/h4>\n\n\n\nPor Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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1. Allegro maestoso – 2. Andante cantabile con espressione – 3. PrestoPor Friedrich Gulda<\/a>, los 3 Movimientos separados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 3 movimientos enlazados : : 1. Allegro maestoso – 2. Andante cantabile con espressione – 3. Presto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nLa voz: extractos de \u00f3pera<\/h3>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Barbarina \u00ab\u00a0Lho perduta me meschina\u00a0\u00bb<\/h4>\n\n\n\nPor Norma Nahoun.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/h4>\n\n\n\nPor Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Los 3 movimientos enlazados : : 1. Allegro maestoso – 2. Andante cantabile con espressione – 3. Presto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nLa voz: extractos de \u00f3pera<\/h3>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Barbarina \u00ab\u00a0Lho perduta me meschina\u00a0\u00bb<\/h4>\n\n\n\nPor Norma Nahoun.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/h4>\n\n\n\nPor Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Por Norma Nahoun.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Le Nozze di Figaro\u00a0\u00bb el aria de Cherubino \u00ab\u00a0Voi che sapete\u00a0\u00bb<\/h4>\n\n\n\nPor Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Por Patricia Jane\u010dkov\u00e1<\/a> y el Camerata Jan\u00e1\u010dek Orchestra.<\/p>\n\n\n\nEsta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Esta aria, tan conocida por los cantantes y tan bellamente cantada aqu\u00ed por Patricia Jane\u010dkov\u00e1, fallecida a los 25 a\u00f1os, me brinda la oportunidad de rendir homenaje a una amiga, Sabine Bastien, que tambi\u00e9n falleci\u00f3 demasiado pronto, y que me pidi\u00f3 que la acompa\u00f1ara en esta aria, que fue mi primera experiencia de la m\u00fasica de c\u00e1mara.<\/em><\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de los 3 ni\u00f1os y Pamina<\/h4>\n\n\n\nPor los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Por los solistas del T\u00f6lzer Knabenchor<\/a> : Ludwig M. & Philip M. & Matthias H.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nCon un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Con un gui\u00f1o muy afectuoso a mi hijo Herv\u00e9, que memoriz\u00f3 esta melod\u00eda en alem\u00e1n a los 10 a\u00f1os\u2026<\/em><\/p>\n\n\n\nExtracto de \u00ab\u00a0Die Zauberfl\u00f6te\u00a0\u00bb (La fl\u00fbte enchant\u00e9e) : el aria de la Reina de la noche<\/h4>\n\n\n\nPor Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Por Natalie Dessay<\/a> y el Orchesta del Op\u00e9ra de Paris<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n\n\n\nM\u00fasica de c\u00e1mara<\/h3>\n\n\n\nSonata para piano y viol\u00edn n\u00ba 21 en mi menor K. 304\/300c<\/h4>\n\n\n\n1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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1. Allegro – 2. Tempo di minuettoFue compuesta en 1778, mientras Mozart se encontraba en Par\u00eds. La pieza, en 2 movimientos, fue compuesta al mismo tiempo que la muerte de la madre de Mozart, Anna Maria Mozart<\/a>, y el estado de \u00e1nimo de la sonata refleja este hecho. Es la \u00fanica obra instrumental de Mozart cuya tonalidad original es mi menor.<\/p>\n\n\n\nEn instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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En instrumentos de \u00e9poca, con todas las repeticiones como oportunidades para la ornamentaci\u00f3n libremente improvisada durante las repeticiones, lo que explica su mayor duraci\u00f3n:por Isabelle Faust<\/a>, viol\u00edn, y Alexander Melnikov<\/a>, forte-piano.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Los 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nPor Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Por Itzhak Perlman<\/a>, Viol\u00edn y Daniel Barenboim<\/a>, Piano<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n<\/audio><\/figure>\n\n\n\nLos 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Los 2 movimientos enlazados :<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nEsta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Esta sonata fue tambi\u00e9n mi primera experiencia con un d\u00fao de violines. Me gustar\u00eda a\u00f1adir a estas grabaciones un cari\u00f1oso recuerdo para mi cu\u00f1ada Betka.<\/em><\/p>\n\n\n\nCuarteto n\u00ba 19 en do mayor, K. 465 \u00ab\u00a0Disonancia<\/h4>\n\n\n\nI. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. Aqu\u00ed tiene 3 recopilaciones: teclados, voces y m\u00fasica de c\u00e1mara.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/12\/06\/escucha-musical-51-mozart\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart\" \/>\n<meta property=\"og:description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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I. Adagio – AllegroPor el cuarteto Les Dissonances: David Grimal, viol\u00edn Hans Peter Hofmann, viol\u00edn David Gaillard, viola Xavier Phillips, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\ndel Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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del Cuarteto Gewandhaus, los 4 Movimientos Encadenados : (00:00<\/a>) I. Adagio – Allegro (10:00<\/a>) II. Andante cantabile (17:30<\/a>) III. Menuetto – Allegretto (22:44<\/a>) IV. Allegro molto<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nQuinteto con clarinete en la mayor K. 581<\/h4>\n\n\n\nII. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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II. LarghettoPor Bj\u00f6rn Nyman, clarinete – Catharina Chen, viol\u00f3n – B\u00e5rd Monsen, viol\u00f3n – Aine Suzuki, contralto – Audun Sandvik, violonchelo<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\nVersi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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Versi\u00f3n completa de los 4 Movimientos :1. Allegro – 2. Larghetto – 3 Minuetto – 4. Allegretto con variazzioniPor Nicolas Baldeyrou, clarinete y el Cuarteto Mona (mujeres): Elina Buksha, viol\u00edn – Charlotte Chahuneau, viol\u00edn – Arianna Smith, viola – Christine J. Lee, violonchelo.<\/p>\n\n\n\n<\/audio><\/figure>\n\n\n\n\n","protected":false},"excerpt":{"rendered":"3 recopilaciones de 14′ a 22′ para escuchar a Mozart: teclados, voz, m\u00fasica de c\u00e1mara.<\/p>\n","protected":false},"author":1,"featured_media":3925,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3946","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"\nEscucha musical n\u00b051 Wolfgang-Amadeus Mozart - Pigyki Mozart<\/title>\n<meta name=\"description\" content=\"Mozart, genio donde los haya, es siempre fascinante por su inventiva. 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