Prague-Viena - Journey in Songs, Music from Eighteenth-Century Prague Martina Janková & Barbara Maria Willi
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- Václav Jan Křtitel Tomášek, Johann Wolfgang von Goethe:
- 1An den Mond, Op. 56/403:09
- Leopold Antonín Koželuh, Pietro Metastasio:
- 2Spira pur, Op. 31/1101:41
- 3Sento amor, Op. 31/301:35
- Wolfgang Amadeus Mozart, Johann Wolfgang von Goethe:
- 4Das Veilchen, K. 47602:26
- Wolfgang Amadeus Mozart, Johann Heinrich Campe:
- 5Abendempfindung, K. 52305:25
- Wolfgang Amadeus Mozart, Gabriele von Baumberg:
- 6Als Luise die Briefe, K. 52001:33
- Ján Jozef Rösler, Unknow poet:
- 7Arietta Il niente01:57
- Ján Jozef Rösler, Ludwig Christoph Heinrich Hölty:
- Ján Jozef Rösler, Johann Wolfgang von Goethe:
- 9An die Entfernte04:39
- Ján Jozef Rösler, Unknow poet:
- 10La Verita04:05
- Joseph Haydn, Anne Hunter:
- 11O Tuneful Voice04:47
- 12The Spirit´s Song05:34
- Jan Hugo Václav Voříšek, Carl Müchler:
- 13An Sie02:33
- Jan Hugo Václav Voříšek, Unknow poet:
- 15Die Abschiedsträne03:13
- Jan Václav Kalivoda, Unknow poet:
- 16Frühlings Wanderschaft, Op. 17203:01
Info for Prague-Viena - Journey in Songs, Music from Eighteenth-Century Prague
The road between Vienna and Prague, taken in 1787 by the 31-year-old Mozart so as to attend the premiere of his opera Don Giovanni, was familiar to a number of other musicians. It was a journey they made in both directions, often with the vision of attaining a better life at the other end. The Czech songs dating from the turn of the 18th and 19th centuries, which form the axis of the present album, may be a revelation for many a listener - as may be the fact that Czech composers mainly set to music German and Italian texts. This could in part have been down to the boom of the German song for home music-making (and the associated publishing business), as well as the mass distribution of keyboard instruments in the 1780s. According to J. W. Goethe, the ability to play the piano was one of the qualities of well-bred young women that increased their chances of finding a good match ... Leopold Koželuch was one of Vienna's most successful song composers, and, owing to, among other things, his diplomatic skills, he even eclipsed the bright star of Mozart. The Prague-based composer F. A. Rösler, whose songs are often indistinguishable from those of Mozart's, did his utmost to preserve Mozart's legacy following his death. And similarly to Rösler, V. J. Tomášek, who too remained faithful to Prague, possessed a refined literary taste, as duly reflected in his selection of the texts for his songs. The recording captures Martina Janková's engrossing voice, replete with vitality, innocence, vigour and lightness, which so becomes the Mozart repertoire. Under the hands of Barbara Maria Willi, the bright and colourful sound of the one and only preserved fortepiano built by F. J. Baumeister (1797) will be for many yet another surprise and discovery on this musical odyssey.
The previously untraced journeys of Czech songs between Mozart's Prague and Vienna.
“Faut-il s'étonner que Martina Janková se meuve avec une discrétion magnifique, sourire et mélancolie réunis, dans ces diversités atmosphériques? Bénédiction que ce soprano d'ascendante tchèque, de grande école mozartienne (le sait-on maître?), limpide mais fruité, maître de sa dynamique. Son adorable vibrato colore les poèmes sans nuire à la simplicité d'allure.” (Diapason)
“Janková cleverly varies her vibrato speed, and canny use of dynamics brings the music vividly to life … Her singing of Haydn’s The Spirit’s Song is especially sensitive, and she is suitably light-hearted in Kalivoda’s Frühlings Wanderschaft, Op.172, abetted by the sonority of the light and colourful fortepiano.” (MusicWeb International)
Martina Janková, soprano
Barbara Maria Willi, fortepiano
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