International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. The purist in me noticed occasional over-smooth articulation and, at the other extreme, very short spiccato bow strokes (in the finale of K218, for example). The Rondos aren't just spirited, buoyant, infectious and smiling, although they're all these things, but they have the kind of natural flow that Beecham gave to Mozart. Cuarteto Casals shatter a glass ceiling of historic inhibitions and camouflage nothing. No, I shall now keep Haitink close by Giulini (at medium price) for regular listening: both take you deep into this opera's world of dark tensions and make you aware of the subtleties of orchestral texture and the symphonic stature of the musical forms. How best to take it in, 200 years later? Anderszewski habitually pairs a lyrical work with a more dramatic one: the ubiquitous C major, once indelibly associated with a Swedish film, versus the clarinet-imbued Sturm und Drang C minor, followed four years later by the serene G major, No 17, set against the agitated D minor, No 20 (5/06). (Beyer also contrived an Agnus Dei from the music of the Kyrie but that is not recorded here.) I enjoyed the latest of the sonatas, K481, unreservedly, whether in the players’ exuberant give-and-take in the outer movements or their rapt, innig Adagio, where Ibragimova sustains and shades her dulcet lines like a thoroughbred lyric soprano.
This work has a stately expansiveness that only switches to a militaristic snap in the first movement of the Serenade, percussion now lending point both to a regal Allegro maestoso and, leading from it, a fiery alla breve Allegro molto. The period woodwind, led by the virginal solo flute, are especially delectable in the serenading G major variation. Taken from a live performance at The Maltings, matters of ensemble, which usually defeat the Mozart Sonata, are judged to perfection. They contain some of the most polished and classically stringent compositions. The Bohm (DG), in no way authentic, remains the work of a great Mozartian, and the Pritchard (EMI) is a historic document, recalling the early days of rediscovery in this field. |
The delightful Persson and Vondung make a wholly believable and vocally attractive Fiordiligi and Dorabella, and deliver their music in ideal Mozartian tone and style. Following the overwhelming popularity of our lists of the 50 greatest Beethoven, Bach, Chopin and Handel recordings, we have now gathered 50 of the finest recordings of Mozart's music – Gramophone Award-winning albums, Recordings of the Month and Editor's Choice discs, from legendary performers like Elisabeth Schwarzkopf and Benjamin Britten to modern masters like John Butt and Alina Ibragimova. --Victor Carr Jr, ClassicsToday.com Reviewing reissue of Symphonies 25 & 29. In the variation finale their basic tempo sounds implausibly jaunty for Mozart’s prescribed Andantino cantabile, though objections fade with Tiberghien’s exquisite voicing of the contrapuntal strands in the first variation. The Sunday Times Best Classical Record of 2008. Sols incl Miah Persson, Anke Vondung, Ainhoa Garmendia, Topi Lehtipuu; Glyndebourne Chorus; Orchestra of the Age of Enlightenment / Iván Fischer. Mozart & Shostakovich Alexander Kerr & the DSO Live recording from the Meyerson Symphony Center Jan. 8 – 10, 2021. Mozart 40 & More Hélène Grimaud, Nicholas McGegan & the DSO Live recording from the Meyerson Symphony Center Jan. 14 – 16, 2021. Point and purpose explained. The producer is David McVicar who has thought of a thousand good ideas and only two bad ones (anon), with a team that has done the Royal Opera House proud. Yet each reveals the craftsmanship Mozart lavished even on trifles for Archbishop Colloredo’s dinner entertainment. Whether in its original Sextet incarnation, performed here, or its later Octet version, this is music that both celebrates and, as Mozart surely knew, far transcends the tradition of al fresco Harmoniemusik. His other arguments do carry some weight, however, and the revision makes sense, but it is not what Mozart intended and to my ears unbalances the Act by having the sextet too close to the finale. But I suspect I shall reach for this new recording as often as any, for its bubbling, crackling theatricality and an eager, yet unforced, sense of fun that never short-changes the opera’s central message of human enlightenment. Here is a Figaro to put with the 1973 Glyndebourne production placed among the top five operatic DVDs (4/08). Gramophone is part of
The backing of the exquisitely refined Orchestra Mozart grants full rein to her personal brand of expressivity. Mozart - Symphony No. The first-movement tempo is on the leisurely side, giving him plenty of opportunity for refined and subtle moulding of the lines. The tragedy is perhaps more restrained in the new version, Tetzlaff’s tone warmer a degree or two than Steinberg’s, though the way he uses vibrato for expressive effect is compelling. Get Details. The shorter pieces, enterprisingly chosen, set off the great works admirably. The original recordings were from the 80s, and repackaged as part of a box set in the 90s. Every note matters, both individually and as part of a phrase, and once again her microscopic alterations of touch make even the most mundane run of semiquavers dance and sing, imparting something undefinable and treasurable to her performances here. As to Jacobs’s cast, more than any version I know, it reminds one that Mozart’s own singers were youthful – Anna Gottlieb, the Pamina, just 17, and even Franz Gerl, the Sarastro, only 26. Dorothea Röschmann’s Countess is an unusually active, passionate woman, and her voice, which a few years ago would have been a natural Susanna, has filled out suprisingly. 14 through 19, were composed in Vienna in 1785. In the great Act 2 Quartet and the last-act duet, where Mozart peers into his musical future, she is just as moving and inspires Bostridge to equal heights of tender inflexion. Their opening to K482 has all the rich grandeur it needs, and here indeed is one quality which some listeners may feel is a little lacking in Cooper. Lindsay Kemp (February 2008), Arthur Grumiaux, Arpad Gérecz vns Georges Janzer, Max Lesueur vas Eva Czako vc. Mozart's Symphony No. Try the final section from ‘Doch du bist entschlossen’ – have you ever heard it sound so resolute, so detailed? Maria Ewing is the newcomer to the cast I referred to earlier, but you would hardly know it from her involving, often poignant singing, particularly in the recitative before ''Mi tradi'', itself sung with the runs made part of the worried expression. Vladimir Jurowski chooses the Vienna version: so out goes “Il mio tesoro”, in comes the duet where Zerlina threatens Leporello and ties him up. The presence of Dame Joan Sutherland does have its drawbacks as well as its glory. But with the Mosaïques we’re made to listen to and appreciate the significance of each detail as it unfolds. Daniel-Ben Pienaar couldn’t have begun better, not by playing but by saying, “It is inescapable that a performance practice for these works that engages the instrument’s full expressive potential needs to look beyond easy categories of ‘authentic’, or ‘modern’ or ‘historically informed’”. 25 (Mozart) at the Mutopia Project (the Allegro con brio movement) Symphony No. 25; 第25號交響曲 (莫扎特); Симфонія № 25 (Моцарт); Symfoni nr. I wonder if Piotr Anderszewski has it in mind to record all of Mozart’s major piano concertos. Mozart: Symphonies Nos. Wolfgang Amadeus Mozart was truly a musical genius who composed an impressive body of work, all before dying at the young age of 35. This much-loved recording has received many awards and plaudits since its release in 2008: Best Classical Record of 2008. Her Cherubino is breathless with hormonal excitement (‘Voi che sapete’ wonderfully ornamented in the repeat), her Countess aches with pain. Like her mistress in her role, Petibon gives us a Blonde to make us forget just about every other soprano in the part on disc. Hoist with my own petard, I think. Kristina Hammarström’s ardent Idamante is almost on a par with other eminent castrato-substitute counterparts on disc (Anne Sofie von Otter, Lorraine Hunt Lieberson and Bernarda Fink); “No, la morte io non pavento” has the perfect characterisation of virtuous courage. That having been said, I find Davis's pacing marginally more exciting. Stanley Sadie (December 1979), English Chamber Orchestra / Benjamin Britten. Sylvia McNair sings Ilia's grateful, sensuous music with eager, fresh tone and impeccable phrasing even if she can't claim the warm appeal of Jurinac (Pritchard/EMI). Hearing of Abbado’s death as I write these words turns the pleasure of hearing it into something altogether more bittersweet. An invigorating first movement predominates, followed by a …
Indeed, her complete series is a remarkably fine achievement, comparable with her account of the piano concertos. He incorporates these instruments into the original format (as did Nikolaus Harnoncourt on a scrawny-sounding early CD), thus turning the Serenade into a fuller work. The Andante is unhurried, allowing plenty of time for expressive detail; and the darker colours within the finale, for all its G major good cheer, are there too.
All three symphonies were written when Mozart was about 18 years of age, and they have the aura of fully-formed genius about them. Mozart Symphony 25 Piano version. 25 in G minor, K. 183/173dB, was written by the then 17-year-old Wolfgang Amadeus Mozart in October 1773, shortly after the success of his opera seria Lucio Silla. The Jupiter in particular has a wonderful bright grandeur, yet reveals details in the brilliant contrapuntal kaleidoscope of the finale that too often go unheard. Like many modern-instrument performances these days it shows the period-orchestra influence in its lean sound, agile dynamic contrasts, sparing string vibrato, rasping brass, sharp-edged timpani and prominent woodwind, though given Mackerras’s long revisionist track-record it seems an insult to suggest that he would not have arrived at such a sound of his own accord. 40… This disc brings together two musicians absolutely at the top of their game and with long experience of working together, as the easy dialogue between them amply demonstrates. Neither does Pentatone’s production, which keeps the perspectives steady (for example, the violin is properly balanced with the ensemble and not pulled forward for the cadenzas). In this new version there is only one principal with more than a half-dozen recordings behind him, and some have none at all. Robin Golding (June 1978), Scottish Chamber Orchestra / Sir Charles Mackerras. Daniel Schmutzhard, with a pleasing lyric baritone, plays a properly ingenuous Papageno, never falling into the trap – in speech or song – of straining too hard for comic effect. Tiberghien and Ibragimova take the opening Allegro of the E minor Sonata, K304, quite broadly, emphasising elegiac resignation over passionate agitation. By common consent, Mitsuko Uchida is among the leading Mozart pianists of today, and her recorded series of the piano sonatas won critical acclaim as it appeared and finally Gramophone Awards in 1989 and 1991. The 1959 Giulini Don Giovanni has been digitally remastered and made available on CD. But the idea of using vocal ornamentation from sources of Mozart’s own time, or just after, at the singers’ choice, is a happy and very successful one. 5 - Konwitschny | John Proffitt - September 26, 2020 I have now received this from Japan and it meets and exceeds all of my expectations. Her Donna Anna is never quite a ''furia disperata''; the comparative weakness of her lower register and her lack of real impulse in phrasing make her as a weak match for Schwarzkopf's Elvira as Te Kanawa's Elvira is for Arroyo's superb Anna for Davis. 35, 40, 41 - George Szell. Wednesday, May 15, 2019, 50 of the finest Mozart recordings in history, plus extracts from the original Gramophone reviews, a playlist, and links to the albums on Apple Music. What is considered by many to be the zenith of classical string quartet writing, Mozart's six string quartets dedicated to Josef Haydn, nos. Presiding in the pit is Pappano, sure of touch, and on stage, Erwin Schrott, a god’s-gift Figaro; he and his Susanna, Miah Persson, must be the handsomest pair in the world of opera. The extended sequence of accompanied recitatives and arias in which the secret lovers Sifare and Aspasia discuss their dire predicament (Act 2 scenes 7-8) are delivered with dramatic poignancy. Director and fortepianist Jos van Immerseel is a veritable pioneer of period Mozart. Duncan Druce (October 2001). Small string section, but really heavy hitters - I had Boston Symphony violinists, Boston Ballet, Esplanade Pops … Great Classical Music Gifts for Christmas, The Greatest Composers of the Classical Period, Biography of Ludwig van Beethoven, German Composer, Ensembles: Making Beautiful Music Together, Hommage a Frederic Chopin Meisterstuck Fountain Pen by Mont Blanc, Mozart: The Great Piano Concertos, Vol. He fields a choir and band of dimensions similar to the forces at the first performance of the complete work on January 2, 1793, little over a year after Mozart’s death, and the effect is, not unexpectedly, to wipe away the impression of a ‘thick, grey crust’ that was felt so palpably by earlier commentators on the work. Quite – but that’s not all, so do read his booklet-note first. The orchestra, perfectly balanced with the singers in a very immediate acoustic, supports them, as it were ‘sings’ with them. Christie sets ‘brisk but flexible tempos, and builds the ensembles into a fever of musical jubilation’. However, the true star is Erich Kleiber. Soprano Joanne Lunn’s tone is well nourished, with vibrato deployed judiciously to colour selected notes or phrases; of the other soloists, Matthew Brook’s bass responds sonorously to the sounding of the last trumpet (in German ‘die letzte Posaune’ – the last trombone) in the ‘Tuba mirum’. Like all the best ensembles in this music, they strike a nice balance between chamber-musical refinement and rustic earthiness. 25 in G minor, K183 (1773) Symphony No. Nalen Anthoni (Awards issue 2014), A delicately breathy sotto voce at the beginning of K421 presages promise. The longer the better‚ as far as I’m concerned. The Tamino and Pamina are well nigh faultless. Blackshaw is one of the few who know how to make the music sing and dance without making a song and dance of it. The pacing of this endlessly intriguing work is measured with immaculate judgement. Elsewhere, though, Mozart’s freewheeling variations, at least in these performances, are doorways into the composer’s psyche in ways that the more formal, polished sonatas are not. Clear but velvety ringing tone, perfect voicing of chords, unsleeping alertness to the necessary subtleties of rubato and line, and above all an ability to realise this music’s intimate poetry that can make you catch your breath, make these performances the kind that any musician should listen to and learn from. I also find myself uncomfortable with the ‘creative’ fortepiano continuo playing, which often draws attention to itself unduly at the expense of the voices – including, sometimes, in the lyrical music, where the piano supplements (and sometimes confuses) the texture, and in the recitatives where the player too cleverly echoes or pre-echoes phrases from the arias. 29; 33), Waalse Kerk, Amsterdam WARNER APEX 2564 61430 2 [74.56] Advertising on Musicweb: Donate and keep us afloat . Kurt Azesberger is a suitably nasty Monostatos.Abbado allows a few neatly executed decorations. No Mozart collection would be complete without these performances. However, this recording was released on vinyl in 2018 by a company called Analogphonic. Richard Wigmore (May 2016). The BBC Music Magazine awards have given Charles Mackerras disc of the year for his 39th Symphony - … Richard Wigmore (Awards issue 2010), Sols incl Röschmann, Miklósa, Streh; Mahler Chamber Orchestra & Arnold Schoenberg Choir / Claudio Abbado, Had this new set been to hand when I discussed all versions of Die Zauberflöte in January, it would have been high on my list of recommendations. 49 in F minor ‘La passione’ of 1768, (one of only ten of Haydn’s symphonies written in in a minor key), which surely serves as inspiration for Mozart’s famous Symphony No. Hagley, the much and justly admired Susanna in the recent Glyndebourne production, offers a reading of spirit and allure. The enterprise acquires a certain internationalism from the use of Jaap Schroder, the Dutch violinist, to lead the orchestra (and in fact to direct it jointly with the harpsichordist, Christopher Hogwood), and from the use of Neal Zaslaw, a professor of music at Cornell University, as musicological consultant, to advise on such matters as editions and texts, the proper forces to use for the most authentic realization of each symphony, and the physical disposition of those forces (over which contemporary practices were followed: it may not have much direct effect on the sound one hears, except in such obvious matters as having first and second violins on opposite sides, but it certainly affects the way the performers interrelate while playing). Interpretation is always carefully thought through and heartfelt. The extremes of monumentality and meditativeness in the Requiem are represented perhaps by Bernstein and Herreweghe respectively; Butt steers a course equidistant between the two without compromising the work in its many moments of austerity or repose. Pick K465 to represent the Casals’ approach, the Adagio introduction unequivocal in explaining why these 22 bars of startling false relations – A flat/A, G flat/G – and grating progressions like the chromatic sforzando clashes of F sharp/G between cello and viola raised a ruckus in its day. This involves placing ''Dove sono'' before, instead of after, the sextet. Browse: Mozart - Symphony No. Brendel is at his finest in the dark, far-reaching middle movement; both of them relish the challenge of characterising the multifariousness of the first, with Brendel’s pianism at the service of the drama but perhaps the plainer of the two in dealing with the intricacies of the counterpoint. Numi pieta” has flawless spatial differentation between the groups of men. Mozart was an operatic composer, in my opinion, and the real drama of his music comes out best in the 45 symphony box set that Fischer conducted. On this occasion both are very positive ladies. His positioning is steadier in the Sinfonia concertante; and so is his placement with the artistic, if slightly reticent, Danusha Waskiewicz. Now it's time to add some music for the lovers of wind instruments. Mozart, Brahms: Clarinet Quintets - Wlach, Vienna Konzerthaus Quartet | Athenaeus - Today 02:55 pm As always with Esoteric, no information about the provenance of the transfer. Her tone sometimes has a roughish edge to it, which rather impairs the Mask trio, and that may be because the role lies a little high for a voice poised between mezzo and soprano. That is especially evident in the visionary playing of Mark Steinberg with Mitsuko Uchida (a recording that should be in every home, to my mind, disappointing only for the fact that there has been no follow-up), where every yearning key-change is luminously coloured. And she finds an extra injection of fire for the Turkish episode in K219’s finale. For all the textual emendations this engenders, the actual difference as far as the general listener is concerned is likely to be minimal; while we Requiemophiles quiver with delight at each clarified marking, to all intents and purposes what is presented here is the Mozart Requiem as it has been known and loved for more than two centuries. But those who want the full Idomeneo story and a profoundly satisfying musical experience must have this new set. Carmignola steps away from neutrality in the succeeding Andante. But the coda is to come – passionate and desolate, a close without parallel in Mozart’s instrumental music – and at moments such as this you can be assured that Goode will surprise and certainly not disappoint. As the only other recording of this edition is Harnoncourt’s, whose peculiar balance between voices and instruments is a sticking point, it is worthwhile to hear Beyer’s work on this disc. There’s little to choose between these players in the composite F major Sonata, K533/494. I’m not always quite convinced that Jacobs’s ideas and instincts are truly Mozartian. 35, 39 – 41. Stanley Sadie (May 2004), Sols incl Siepi, Gueden, Poell, della Casa; Vienna Philharmonic Orchestra / Erich Kleiber. And both have voices ideally suited to their music, Schrott with richness and depth, Persson with freshness that is sharp-pointed to just the right degree. A top-class recording enhances the sensation of keen participation. (shelocta, PA) See All My Reviews " Fischer's briskness is exactly the reason this recording is so exciting. Some edits are just audible and I had the feeling that some of the set numbers were recorded without an audience present, but that doesn't detract from the sense of unity and vividness available from recording a work, by and large, in the right order thus ensuring histrionic truth. The best recording of each. Publication date 2019-10-23 Topics mozart, symphony no 25, symphony, mozart symphony, wolfgang amadeus mozart, wolfgang, amadeus. Add to that the stylish singing of Alfredo Kraus and Giuseppe Taddei and the central quartet is unimpeachable. It's a pity to be unable to be equally enthusiastic about the recorded sound. The two sisters are gloriously sung – Schwarzkopf and Ludwig bring their immeasurable talents as Lieder singers to this sparkling score and overlay them with a rare comic touch. The advantage of the surviving music for the deus ex machina da capo in.. 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