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Mozart en famille
W.A. Mozart

Kuijken Trio

Mozart en famille

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917290226
Catnr: CC 72902
Release date: 03 June 2022
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Label
Challenge Classics
UPC
0608917290226
Catalogue number
CC 72902
Release date
03 June 2022

"The resulting disc, entitled Mozart en famille, compels repeated listening not only because of the compositions themselves but also on account of the Kuijken Trio’s colourful, loving performances."

Musicweb, 12-9-2022
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About the album

This recording of Mozart chamber music can be listened to as a pleasant private concert "en famille". The choice of the works is dictated solely by the specific instruments played by the three family members: violin, viola and keyboard. This is not a usual instrumentation in the chamber music repertoire, yet it is this combination that has given rise to a pleasantly varied programme - thanks to Mozart's inexhaustible genius!

The sonata in C major (KV 296) is dated Mannheim, 11 March 1778. Mozart had left Salzburg with his mother in September 1777 to try his luck in Paris, but musical and amorous reasons caused him to spend five months in the musical city of Mannheim before he continued his journey to Paris.

Mozart wrote the two duos for violin and viola (KV 423 and 424) in 1783, when he was in Salzburg for a few weeks. In the first of the two duets (KV 423, in G major, recorded here), it is immediately obvious how both instruments are treated equally: both parts are extremely concertante, the dialogue is very intense. We also realise how well Mozart (who himself was an accomplished violin virtuoso, and also enjoyed playing the viola) understood and exploited the possibilities and the separate characters of the violin and the viola from within...

The Fantasy in D minor for fortepiano (KV 397) is a rare gem in the keyboard literature - the composition date is estimated to be around 1782. Mozart is without doubt among all composers the one who has the most intimate relationship with the d minor mystery - think for example of his String Quartet in d minor (KV 421), his Piano Concerto KV 466, and of course his Requiem (KV 626) - in all these works the d minor key stands for a deep, dark but not depressing energy. It is as if Mozart wants us to feel and see how fatality is inevitably part of the unspeakable mystery of life and suffering... But at the same time he testifies how strong the deeply hidden positive forces continue to propel everything, eternally and indestructibly. Here, Mozart reaches into the deepest abysses...
The so-called Kegelstatt Trio (KV 498, dated 5th of August, 1786) was originally intended for clarinet, viola and keyboard. In the printed edition of this trio, Mozart had the clarinet part replaced by a violin part, and mentioned the original clarinet part as an alternative to the violin - surely this would have boosted sales... This recording presents the printed version of this work (with violin in stead of clarinet), in which the lower notes of the clarinet part have been very judiciously shifted to higher regions, within the violin range...

The key of E-flat major is a constant reminder of Mozart's Masonic affiliation. Wolfgang received great material support on several occasions from lodge brothers, and perhaps the Kegelstatt-story is referring to joint recreation among like-minded friends...
The keyboard instrument played for this recording is a faithful copy (by Chris Maene, Ruiselede-Belgium) of a fortepiano built ca 1785 by Johann Andreas Stein in Augsburg. Mozart was a great friend of this instrument builder. The size of J.A.Stein's fortepianos is basically comparable with the harpsichords of his time.
Een pareltje deze opname van het Kuijken Trio met kamermuziek van Wolfgang Amadeus Mozart, een nieuw muzikaal cadeau van de familie Kuijken voor iedereen. ‘Mozart en famille’, het lijkt wel een privéconcert. Heerlijk om naar te luisteren. De keuze van de werken is bepaald door de specifieke instrumenten die de drie familieleden Kuijken bespelen: viool, altviool en fortepiano. Weliswaar geen gebruikelijke instrumentatie in het kamermuziekrepertoire, maar deze combinatie zorgt wel voor een aangenaam gevarieerd programma, uiteraard mede te danken aan Mozarts onuitputtelijke genialiteit.

De Sonata in C majeur (KV 296) dateert uit Mannheim, 11 maart 1778. Mozart had Salzburg in september 1777 met zijn moeder verlaten om zijn geluk in Parijs te beproeven, maar muzikale en amoureuze redenen zorgden ervoor dat hij vijf maanden in de muzikale stad Mannheim doorbracht voordat hij zijn reis naar Parijs vervolgde. De sonate, gespeeld door Sigiswald Kuijken op viool en dochter Marie Kuijken op fortepiano, wordt tegenwoordig voor het gemak, eigenlijk ten onrechte, vioolsonate genoemd. Maar de omschrijving in de partituur is "für Klavier mit Begleitung einer Violine". Dit om te benadrukken dat de fortepiano hier de hoofdrol speelt.

De twee duo's voor viool en altviool (KV 423 en 424) schreef Mozart in 1783, toen hij een paar weken in Salzburg was. In het eerste van de twee duetten Duo in G majeur (KV. 423) wordt meteen duidelijk dat beide instrumenten, de viool en de altviool, helemaal gelijkwaardig zijn. Mozart, die zelf een vioolvirtuoos was, en ook graag altviool speelde gebruikte alle mogelijkheden van beide instrumenten. De afzonderlijke karakters van de viool en de altviool zijn te horen in de intense dialoog tussen de twee instrumenten, op dit album uitgevoerd door Sigiswald Kuijken samen met zijn andere dochter Sara Kuijken op altviool.

De Fantasie in d mineur voor fortepiano (KV. 397) is een zeldzaam juweeltje in de klavierliteratuur. Geschat wordt dat Mozart het rond 1782 schreef. Van alle componisten was hij zonder twijfel degene die de meest intieme relatie had met het d mineur mysterie. Denk maar aan zijn Strijkkwartet in d mineur (KV 421), zijn Pianoconcert KV 466, en natuurlijk zijn Requiem (KV 626). Deze diepe donkere, maar niet deprimerende, toonsoort gebruikte Mozart om zijn luisteraar te laten voelen hoe het noodlot onvermijdelijk deel uitmaakt van het onuitsprekelijke mysterie van leven en lijden, eeuwigheid en hoopvolle onverwoestbaarheid.

Het Kegelstatt Trio (KV. 498) uit 1786 is oorspronkelijk geschreven voor klarinet, altviool en piano. Volgens de overlevering schreef Mozart dit werk terwijl hij met vrienden ontspande op de bowlingbaan: “Kegelstatt”. Deze opname, waarin alle drie de leden van de Kuijken familie te horen zijn, presenteert de gedrukte versie van dit werk, met viool in plaats van klarinet.

Vanaf 1998 brengt Sigiswald Kuijken nu en dan leden van twee generaties Kuijken bij elkaar, zijn dochters Sara en Veronica en zijn broer Wieland, om strijkkwartetten uit latere periodes te vertolken (Debussy, Schumann, Beethoven, Schubert). Vaak in combinatie met liederen door dochter Marie Kuijken, die zowel pianiste als sopraan is, en Veronica Kuijken aan de piano. Van de twee generaties werden opnames gemaakt door Arcana en Challenge Records.


Diese Einspielung von Mozart-Kammermusik kann als angenehmes Privatkonzert "en famille" gehört werden. Die Auswahl der Werke richtet sich ausschließlich nach den spezifischen Instrumenten, die von den drei Familienmitgliedern gespielt werden: Violine, Viola und Keyboard. Dies ist keine übliche Besetzung im Kammermusikrepertoire, doch gerade diese Kombination hat zu einem angenehm abwechslungsreichen Programm geführt - dank Mozarts unerschöpflichem Genie!

Die Sonate in C-Dur (KV 296) ist in Mannheim am 11. März 1778 entstanden. Mozart war im September 1777 mit seiner Mutter aus Salzburg abgereist, um sein Glück in Paris zu versuchen, doch musikalische und amouröse Gründe veranlassten ihn, fünf Monate in der Musikstadt Mannheim zu verbringen, bevor er seine Reise nach Paris fortsetzte.

Die beiden Duos für Violine und Viola (KV 423 und 424) schrieb Mozart 1783, als er für einige Wochen in Salzburg weilte. Im ersten der beiden Duette (KV 423, G-Dur, hier eingespielt) fällt sofort auf, wie gleichberechtigt beide Instrumente behandelt werden: beide Stimmen sind äußerst konzertant, der Dialog ist sehr intensiv. Wir erkennen auch, wie gut Mozart (der selbst ein versierter Geigenvirtuose war und auch gerne Bratsche spielte) die Möglichkeiten und die unterschiedlichen Charaktere von Geige und Bratsche von innen heraus verstanden und genutzt hat...

Die Fantasie in d-Moll für Fortepiano (KV 397) ist ein seltenes Juwel in der Tastenliteratur - das Kompositionsdatum wird auf etwa 1782 geschätzt. Mozart ist zweifellos unter allen Komponisten derjenige, der die innigste Beziehung zum d-Moll-Mysterium hat - man denke zum Beispiel an sein Streichquartett in d-Moll (KV 421), sein Klavierkonzert KV 466 und natürlich sein Requiem (KV 626) - in all diesen Werken steht die d-Moll-Tonart für eine tiefe, dunkle, aber nicht bedrückende Energie. Es ist, als wolle Mozart uns spüren und sehen lassen, wie das Schicksal unweigerlich zum unsagbaren Geheimnis des Lebens und des Leidens gehört... Gleichzeitig bezeugt er aber auch, wie stark die tief verborgenen positiven Kräfte alles weiter vorantreiben, ewig und unzerstörbar. Hier greift Mozart in die tiefsten Abgründe...
Das sogenannte Kegelstatt-Trio (KV 498, datiert auf den 5. August 1786) war ursprünglich für Klarinette, Viola und Clavier gedacht. In der gedruckten Ausgabe dieses Trios ließ Mozart die Klarinettenstimme durch eine Violinstimme ersetzen und erwähnte die ursprüngliche Klarinettenstimme als Alternative zur Violine - das hätte sicherlich den Verkauf angekurbelt... Die vorliegende Einspielung präsentiert die gedruckte Fassung dieses Werks (mit Violine anstelle der Klarinette), in der die tiefen Töne der Klarinettenstimme mit viel Bedacht in höhere Regionen innerhalb des Violinbereichs verschoben wurden...

Die Tonart Es-Dur ist eine ständige Erinnerung an Mozarts Zugehörigkeit zur Freimaurerei. Wolfgang wurde bei mehreren Gelegenheiten von Logenbrüdern materiell unterstützt, und vielleicht bezieht sich die Kegelstatt-Geschichte auf eine gemeinsame Freizeitgestaltung unter Gleichgesinnten...
Das für diese Aufnahme gespielte Tasteninstrument ist eine originalgetreue Kopie (von Chris Maene, Ruiselede-Belgien) eines Hammerflügels, der um 1785 von Johann Andreas Stein in Augsburg gebaut wurde. Mozart war ein großer Freund dieses Instrumentenbauers. Die Größe der Fortepianos von J.A.Stein ist im Grunde mit den Cembali seiner Zeit vergleichbar.

Artist(s)

Sigiswald Kuijken (violin)

Sigiswald Kuijken was born in 1944 close to Brussels. He studied violin at the conservatories of Bruges and Brussels, completing his studies at the latter institution with Maurice Raskin in 1964. He came into contact with early music at a very young age, together with his brother Wieland. Studying on his own, he gained a thorough knowledge of specific 17th- and 18th-century performance techniques and conventions of interpretation on violin and viola da gamba. This led to the introduction, in 1969, of a more authentic way of playing the violin, whereby the instrument was no longer held under the chin, but lay freely on the shoulder;  this was to have a crucial influence on the approach to the violin repertoire...
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Sigiswald Kuijken was born in 1944 close to Brussels. He studied violin at the conservatories of Bruges and Brussels, completing his studies at the latter institution with Maurice Raskin in 1964. He came into contact with early music at a very young age, together with his brother Wieland. Studying on his own, he gained a thorough knowledge of specific 17th- and 18th-century performance techniques and conventions of interpretation on violin and viola da gamba. This led to the introduction, in 1969, of a more authentic way of playing the violin, whereby the instrument was no longer held under the chin, but lay freely on the shoulder; this was to have a crucial influence on the approach to the violin repertoire and was consequently adopted by many players starting in the early 1970s.
From 1964 to 1972, Sigiswald Kuijken was a member of the Brussels-based Alarius Ensemble (with Wieland Kuijken, Robert Kohnen and Janine Rubinlicht), which performed throughout Europe and in the United States. He subsequently undertook individual chamber music projects with a number of Baroque music specialists, chief among which were his brothers Wieland and Barthold and Robert Kohnen, as well as Gustav Leonhardt, Frans Brüggen, Anner Bylsma and René Jacobs.
In 1972, with the encouragement of Deutsche Harmonia Mundi and Gustav Leonhardt, he founded the Baroque orchestra La Petite Bande, which since then has given innumerable concerts throughout Europe, Australia, South America, China and Japan, and has made many recordings for a number of labels (including Deutsche Harmonia Mundi, Seon, Virgin, Accent, Denon, Hyperion and Challenge.
In 1986 he founded the Kuijken String Quartet (with François Fernandez, Marleen Thiers and Wieland Kuijken), which specialises in the quartets and quintets of the Classical period. Recordings of quartets and quintets by Mozart and Haydn have appeared on Denon and Challenge.
Since 1998 Sigiswald Kuijken occasionally brings together two generations Kuijken (his daughters Veronica and Sara and his brother Wieland) to perform string quartets of later periods (Debussy, Schumann, Beethoven, Schubert) often combined with Lieder by Marie Kuijken, soprano and also daughter of Sigiswald, and Veronica Kuijken, piano. Recordings of the two generations have been made for Arcana and Challenge Records.
In 2004 Sigiswald Kuijken reintroduced in practical performance the violoncello da spalla (shoulder cello) very probably the instrument Bach had in mind when writing his six suites for violoncello solo.
From 1971 to 1996, Sigiswald Kuijken taught Baroque violin at the Koninklijk Conservatorium in The Hague and from 1993 to 2009 at the Koninklijk Muziekconservatorium in Brussels.
For many years he was a guest teacher at institutions such as the Royal College of Music in London, Salamanca University, the Accademia Chigiana in Siena, the Conservatoire of Geneva and the Musikhochschule of Leipzig. Since 1998, Sigiswald Kuijken occasionally conducts “modern” symphonic orchestras in romantic programs ( Beethoven, Schumann, Brahms, Mendelssohn).

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Marie Kuijken (fortepiano)

Marie Kuijken studied Piano, Chamber Music and Keyboard Accompaniment at the Royal Conservatory of Music in Brussels. In this same period she studied voice with Louis Devos, Margreet Honig (Amsterdam) and with Lena Lootens. As a soprano, Marie Kuijken works often together with La Petite Bande,  in productions such as the Passions of J.S.Bach, Vesperi della beata Vergine Maria  of Monteverdi and some intermezzi buffi in which she sings de female part. As pianist she specializes in the Mozart repertoire on pianoforte  (copy of Stein). In the Lied repertoire she is accompanied by her sister  Veronica; recently they performed Schumanns 'Frauenliebe und Leben'. In Italy, where she lives, Marie Kuijken is part of the baroque ensemble Il Fabbro Armonioso. She...
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Marie Kuijken studied Piano, Chamber Music and Keyboard Accompaniment at the Royal Conservatory of Music in Brussels. In this same period she studied voice with Louis Devos, Margreet Honig (Amsterdam) and with Lena Lootens. As a soprano, Marie Kuijken works often together with La Petite Bande, in productions such as the Passions of J.S.Bach, Vesperi della beata Vergine Maria of Monteverdi and some intermezzi buffi in which she sings de female part. As pianist she specializes in the Mozart repertoire on pianoforte (copy of Stein). In the Lied repertoire she is accompanied by her sister Veronica; recently they performed Schumanns "Frauenliebe und Leben". In Italy, where she lives, Marie Kuijken is part of the baroque ensemble Il Fabbro Armonioso. She also continues the vocal study with L.Napoli. She was a guest of the Festival Barocco di Viterbo and the Festival 900 in Pescara. With cembalo player G.Catalucci she frequently performs in Amelia. She has been assigned to the Conservatory of Salerno as teacher in diction of foreign languages.

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Sara Kuijken (viola)

Sara Kuijken (1968) studied viola at the Royal Conservatory of Music in Brussels, where she obtained a 1st prize in 1989 and in 1992 the Higher Certificate magna cum laude. At the Sweelinck Conservatory in Amsterdam she obtained a degree as a performing musician in 1995. Together with seven other musicians, she founded the Oxalys chamber music ensemble, in which she played viola and served as artistic director until 1998. This ensemble released two CDs, with impressionist and with contemporary Russian chamber music. Her father Sigiswald Kuijken gave her some baroque violin instruction in 1994. She is a regular participant in La Petite Bande. Since the academic year 2005-06 she has been assistant instructor of baroque violin at the Royal...
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Sara Kuijken (1968) studied viola at the Royal Conservatory of Music in Brussels, where she obtained a 1st prize in 1989 and in 1992 the Higher Certificate magna cum laude. At the Sweelinck Conservatory in Amsterdam she obtained a degree as a performing musician in 1995. Together with seven other musicians, she founded the Oxalys chamber music ensemble, in which she played viola and served as artistic director until 1998. This ensemble released two CDs, with impressionist and with contemporary Russian chamber music. Her father Sigiswald Kuijken gave her some baroque violin instruction in 1994. She is a regular participant in La Petite Bande. Since the academic year 2005-06 she has been assistant instructor of baroque violin at the Royal Conservatory of Music in Brussels.

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Composer(s)

Press

The resulting disc, entitled Mozart en famille, compels repeated listening not only because of the compositions themselves but also on account of the Kuijken Trio’s colourful, loving performances.
Musicweb, 12-9-2022

If you enjoy Mozart on original instruments, this is the disc for you.
BBC Music Magazine, 13-8-2022

Each of these works is an individual masterpiece, but the crown of them is the so-called "Kegelstatt" Trio
BBC MM, 05-8-2022

Play album Play album
01.
Sonata in C Major, KV. 296 for fortepiano and violin (Mannheim, 1778): I. Allegro vivace
09:42
(W.A. Mozart) Sigiswald Kuijken, Marie Kuijken, Sara Kuijken
02.
Sonata in C Major, KV. 296 for fortepiano and violin (Mannheim, 1778): II. Andante sostenuto
06:15
(W.A. Mozart) Sigiswald Kuijken, Marie Kuijken, Sara Kuijken
03.
Sonata in C Major, KV. 296 for fortepiano and violin (Mannheim, 1778): III. Rondeau
04:31
(W.A. Mozart) Sigiswald Kuijken, Marie Kuijken, Sara Kuijken
04.
Duo in G Major, KV. 423 for violin and viola (Salzburg, 1783): I. Allegro
10:39
(W.A. Mozart) Sigiswald Kuijken, Marie Kuijken, Sara Kuijken
05.
Duo in G Major, KV. 423 for violin and viola (Salzburg, 1783): II. Adagio
03:52
(W.A. Mozart) Sigiswald Kuijken, Marie Kuijken, Sara Kuijken
06.
Duo in G Major, KV. 423 for violin and viola (Salzburg, 1783): III. Rondeau - Allegro
05:37
(W.A. Mozart) Sigiswald Kuijken, Marie Kuijken, Sara Kuijken
07.
Fantasie in D Minor, KV. 397 for fortepiano
05:03
(W.A. Mozart) Sigiswald Kuijken, Marie Kuijken, Sara Kuijken
08.
“Kegelstatt” Trio, KV. 498 in E flat Major - (Artaria original edition for violin, viola and piano, 1788): I. Andante
05:30
(W.A. Mozart) Sigiswald Kuijken, Marie Kuijken, Sara Kuijken
09.
“Kegelstatt” Trio, KV. 498 in E flat Major - (Artaria original edition for violin, viola and piano, 1788): II. Menuetto
05:15
(W.A. Mozart) Sigiswald Kuijken, Marie Kuijken, Sara Kuijken
10.
“Kegelstatt” Trio, KV. 498 in E flat Major - (Artaria original edition for violin, viola and piano, 1788): III. Rondeaux
08:37
(W.A. Mozart) Sigiswald Kuijken, Marie Kuijken, Sara Kuijken

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