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MOZART, W.A.: Magic Flute (The) / La Clemenza di Tito (arr. for wind ensemble) (Saxonian Woodwind Academy)

Composer(s):Mozart, Wolfgang Amadeus
Artist(s) Saxonian Woodwind Academy, Ensemble
Period(s) Classical (1750-1830)
Genre Classical Music
Category Chamber Music
Catalogue 8.570027
Label Naxos
Quality   320kbps

When Emperor Joseph II established a professional wind ensemble (or Harmonie) drawn from the Viennese court orchestra in 1782, he initiated an influential trend that gave composers an important opportunity to popularise their operatic music. The beautifully crafted Harmoniemusik arrangements of arias and choruses from Mozart’s two last operatic masterpieces, Die Zauberflöte and La Clemenza di Tito, made by the composer’s contemporaries, Joseph Heidenreich and Joseph Triebensee, are superb examples of the genre, which showcase both the extraordinary richness of Mozart’s immortal music and the virtuosic talents of the serenading wind players.


Review By Giv Cornfield,The New Recordings, Cliffs Classics,January 2009

In the bad old days before recordings and radio, arrangements such as these were very popular. Properly performed, they can be quite enjoyable and worth repeated hearing. This particular effort, however, falls short, I felt, because La Clemenza di Tito does not abound in memorable tunes (The Marriage of Figaro would have been a far better choice), and the Saxonian's relaxed approach to the music is better suited to Sunday in the Park.

Review By David Denton, Naxos,December 2008

Naxos has championed some unlikely causes, and now turns its attention to the once popular ‘Harmoniemusik’, the works written for small rustic wind ensembles that reached professional respectability during Mozart’s lifetime. He was to add some charming Serenades to their repertoire, though such groups largely relied on arrangements of music composed in another genre. The premiere of Mozart’s opera, Die Zauberflote had only just taken place when Joseph Heidenreich began work on a very free arrangement of key sections of the opera scored for pairs of oboes, clarinets, bassoons and horns. At times keys were transposed and the vocal line changed in character so that it would fall within the range of one instrument. With commendable skill



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