Fantasy KV 475

transcription for wind quintet (2006)

Commissioned the impromptu concert for the 250th anniversary of Mozart's birth from the ensemble.

Created by the dedicatees on December 15, 2006 at the Espace La Traverse in Le Bourget du lac (France), then on a creative tour during the years 2007/2008 as part of the Mozart/Vienna show (Mise en scène_cc781905-5cde-3194 -bb3b-136bad5cf58d_: Bruno Belthoise and Yves Charpentier, scenography : Katrin Bremermann, lights : Philippe Andrieux, costumes_cc781905-5cde-3b58-badle: Emmanuel Ballon

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This arrangement - here in D and not in C - of the famous Fantaisie KV 475 (the culmination of the new Mozartian style of composition for the piano, partly influenced by CPE Bach and whose main theme is none other than a rewriting of the no less famous theme from Bach's Musical Offering) is, after Hector Berlioz (Ball Scene, taken from the Symphonie Fantastique) and Carl Philipp Emmanuel Bach (Rondo in D minor Wq 61/4 - H290), the third that I performed the impromptu concert for the excellent ensemble, whose artistic director Yves Charpentier has always accompanied and supported me in my projects. The complicity that has bound us for more than fifteen years now has allowed me to write a number of works for winds, including three wind quintets which constitute, in a way, " mon laboratory of experimentation » like Beethoven and his string quartets.

The winds, which Mozart was so fond of, seemed to me appropriate to best render the ambiguous tonality of this work, sometimes dark, sometimes joyful, in the image of the psychology of its author. Some exegetes do not hesitate to think that this one would be autobiographical : Mozart would have expressed in it the romantic relationship he would have had with one of his students at the time, Maria Theresia von Trattnern, wife married and dedicatee of the work, which earned her to be thanked by her husband.

As much as possible, I decided to respect Mozart's instructions to the letter by crossing three editions, which however contradict each other on certain points: the manuscript, the Urtext Edition Carisch and the facsimile of the 1st edition (Éditions Fac-simile Jean-Marc Fuzeau, Dominantes collection, published under the direction of Jean Saint-Arroman). Apart from a few places where I've added a nuance or slur for better musical understanding, I'll leave that up to the instrumentalists.