IMF Kutná Hora 2017

10th IMF KH programme – 9th concert

Saturday, June 10,Church of St. Barbara, 7:30 p.m.




Wolfgang Amadeus Mozart: Quartet in F major, K. 370 for Oboe, Violin, Viola and Cello

Vilém Veverka – oboe, Jakub Fišer – violin, Karel Untermüller – viola, Lukáš Polák – cello


Wolfgang Amadeus Mozart: Quintet in E flat major, K 452 for Piano, Oboe, Clarinet, French Horn and Basoon

Terezie Fialová – piano, Vilém Veverka – oboe, Michel Raison – clarinet, Kateřina Javůrková – French horn, Jan Hudeček – basoon


Ludwig van Beethoven: Septet in E flat major, Op. 20 for Clarinet, Bassoon, French Horn, Violin, Viola, Cello and Double-bass

Michel Raison – clarinet, Jan Hudeček – bassoon, Kateřina Javůrková – French horn, Roman Patočka – violin, Karel Untermüller – viola, Jiří Bárta – cello, Tomáš Vybíral – double bass

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Many works of Wolfgang Amadeus Mozart (1756 – 1791) were motivated by prestigious commissions. This most certainly applies also for the opera Idomeneo, written for the carnival in Munich in early 1781. Still in Munich, he wrote the Quartet in F major for Oboe, Violin, Viola and Cello (K 370/368b). This piece, where the string quartet´s standard first violin part is replaced by the wind instrument, was “made to measure” for the outstanding local oboist, Friedrich Ramm. Despite being a chamber composition, the quartet is also highly exposed as regards its virtuoso requisites. The opening movement of the three-part quartet is in sonata form and brings a good deal of inventive work with subjects; the second movement features prominently an immaculate aria embued with pathos; and the finale, in contrast, abounds in good humour bordering on irony. Similar motivation lay behind the making of the Quintet in E flat major for Piano, Oboe, Clarinet, French Horn and Bassoon (K 452), written by Mozart for the Carnival in Vienna. The composition is in three movements, a pattern characteristic for concertante pieces. The first movement, in sonata form, has the individual subjects circulate from one instrument to the next, in variable combinations with piano. The ensuing part is a typical Mozartian slow movement marked by a delicately pleading expression. The work´s somewhat peculiar trait is the use of the sonata rondo princple in the final movement.

In fact, this particular Mozart Quintet served later on as a source of inspiration for Ludwig van Beethoven (1770 – 1827) in writing his Quintet in E flat major for Piano with Wind Instruments, Op. 16. However, the way in which the early Beethoven dealt with the legacy of the Classical-era affinity for wind instruments is best illustrated by his Septet in E flat major for Clarinet, Bassoon, French Horn, Violin, Viola, Cello and Double-Bass, Op. 20. There, he eliminated the traditional wind instrument to pair them instead with as many individual stringed instruments. Structurally, while retaining the multi-movement format of earlier divertimenti and serenades, he substituted the second minuet by scherzo. The septet was brought to completion in 1800, simultaneously with Beethoven´s Symphony No. 1.

PhDr. Jůlius Hůlek / translation: Ivan Vomáčka