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PT 6088
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PT 6088

MOZART: Donaueschingen Harmoniemusik of The Abduction from the Seraglio, K. 384

The Classical Shop
release date: November 2009

Recorded in 24 Bit / 96Khz
album available as a Studio Master


Blomhert, Bastiaan

Bastiaan Blomhert

Featured Artist

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Total Time - 60:22
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Die Entfuhrung aus dem Serail (Abduction from the Seraglio), K. 384

1 I. Overture 3:57
2 II. Hier soll ich dich denn sehen 2:26
3 III. Solche hergelauf'ne Laffen 3:30
4 IV. O wie angstlich, o wie feurig 2:53
5 V. Doch wie schnell schwand meine Freude 3:13
6 VI. Durch Zartlichkeit und Schmeicheln 2:45
7 VII. Ich gehe doch rate ich dir 2:42
8 VIII. Martern aller Arten 7:55
9 IX. Welche Wonne, welche Lust 2:22
10 X. Frisch zum Kampfe! 2:43
11 XI. Vivat Bacchus! Bacchus lebe! 1:53
12 XII. Wenn der Freude Tranen fliessen 4:17
13 XIII. Ach, Belmonte! Ach, mein Leben 2:34
14 XIV. Ich baue ganz auf deine Starke 4:51
15 XV. Ha, wie will ich triumphieren 2:45
16 XVI. Adagio recitativo: Welch ein Geschick! 7:26
17 XVII. Finale: Nie werd'ich deine Huld verkennen 2:10
 Bastiaan Blomhert Featured Artist
 Blomhert, Bastiaan
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“Pentatone’s SACD of more than an hour of music from Mozart’s opera The Abduction from the Seraglio is beautifully played….Blomhert surely is an authority on this subject: he earned his Ph. D. in 1987 with his dissertation about the Donaueschingen Harmoniemusik of The Abduction from the Seraglio.”

Robert Benson

“Late in the 18th century in Austria, the Harmonie-ensemble was the vehicle for disseminating the music of major operas, symphonies, and similar works to a wider audience under in more informal situations. Arrangements of theatre music were frequently transcribed for the eight wind players of the Harmonie: two oboes, two clarinets, two horns and two bassoons….The 16 sections of the work following the overture are identified with the titles of the various arias heard in the opera. Some are under two minutes length and one of the longest is an adagio recitativo at seven and one-half minutes. If one is not that familiar with the opera itself, the music can be heard as more superb divertimento or concertante music by the Master.  The players contribute a lively and precise interpretation, and the acoustics of Henry Wood Hall in London are well-captured in 5.0 surround.”

John Sunier

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