Fantasia: Mozart on the Organ

Wolfgang Amadeus Mozart (1756-1791) had a profound connection with the church organ, an instrument that played a significant role in his musical development. As a child prodigy, Mozart was exposed to the organ in church settings, where he often performed. The organ's grandeur and complexity influenced his compositional style, particularly in his sacred music. A feast of colours and timbres, celebrating the genius of Mozart’s eternal music!

Composer: Wolfgang Amadeus Mozart
Artists: Manuel Tomadin (organ)

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A unique take on Mozart’s music from the organ loft.
Mozart wrote sparingly for the solo organ – a relatively early collection of short Epistle Sonatas for liturgical use, and later on a few more individual pieces for a new mechanical organ. In neither case was he using the full extent of a large instrument as exploited by his Baroque predecessors. At the same time, Mozart himself was no stranger to the organ loft; he would have been regularly playing the instrument at St Stephen’s Cathedral in Vienna had his plans come to fruition and he had lived long enough to attain the post of Director of Music there.
Manuel Tomadin has imaginatively filled in this gap in the Mozart catalogue, as it were, with his own transcriptions of pieces particularly well suited to the soundworld of the organ. The A minor Sonata K310 shares a surging, Sturm und Drang sensibility with the two fantasias, in C minor and D minor. In turn this character lends itself to the Gothic grandeur of the ‘king of instruments’, when sensitively registered and nimbly executed. The coloristic possibilities of the organ, its dynamic range and effects of perspective, are also put to dramatic use in bringing to life two of Mozart’s opera overtures, from Cosi fan tutte and Die Zauberflote.
Tomadin does not neglect the roots of Mozart’s music in the Baroque, with a transcription of the rococo G major sonata K283 which he wrote at the age of 18, plus a much less familiar Preludio and Capriccio in C K394. In both of these pieces, Mozart was drawing on the legacy of CPE Bach, who had given him lessons as a child – a period to which Tomadin pays tribute with another rarity, one of the ‘London Sketches’ preserved in notebook form from the family’s stay in the English capital.
Tomadin has chosen an original and historically appropriate instrument for this fascinating exploration of Mozart on the organ, built in the late 1780s by the Montesanti firm for the parish church of Governolo in the province of Lombardy. The booklet includes a full specification of the organ, plus Tomadin’s own introduction to the repertoire and his approach to it as a transcriber and performer.


Tracklist:
Wolfgang Amadeus Mozart:
00:00:00 Rondò in D Major, K.485
00:05:56 London Skizzen No. 15 in G Minor K.And.109b. Nr 3
00:08:12 Fantasia in D Minor, K.397
Sonata No. 5 in G Major, K.283:
00:14:51 I. Allegro
00:18:27 II. Andante
00:23:27 III. Presto
00:27:41 Fantasia in C Minor, K.475
00:40:57 Ouverture from “Die Zauberflöte”, K.620
Sonata No. 8 in A Minor, K.310:
00:49:00 I. Allegro maestoso
00:53:55 II. Andante cantabile
01:02:45 III. Presto
01:06:01 Preludio and Capriccio in C Major, K.395
01:11:02 London Skizzen No. 32 in B Major, K.15gg
01:12:38 Ouverture from “Così fan tutte”, K.588


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