An interesting and worthwhile experiment even if it does not quite work. Mozart: String Quartets K. 465 Dissonance / K. 458 The Hunt / K. 421, Mozart - Die Zauberflöte (The Magic Flute), Mozart: The Violin Sonatas [Box Set, Collector's Edition], B.A., Classical Music and Opera, Westminster Choir College of Rider University. Richard Wigmore (February 2015), Netherlands Chamber Orchestra / Nikolitch. Bruno Walter was a Mozart specialist and heir to the Viennese performance tradition (he was born less than a century after Mozart's death). The recitative is done with quite exceptional life and feeling for its meaning and dramatic import, with a real sense, during much of it, of lively and urgent conversation, especially in the first half of the work. Sols incl Schrott, Persson, Finley; The Royal Opera / Antonio Pappano. These are small, almost trivial points, worth raising only because there is so much here that demands criticism by the highest possible standards. The playing throughout is alert and scrupulously articulated.Casts varied between performances; here Abbado assembled one predominantly chosen from a youngish generation of German-speaking singers, each of whom approaches his or her role with fresh sound and interprets it in impeccably Mozartian style. While the 1793 Vienna concert is well documented, recent research has suggested that the Requiem (or at least some of it) was performed in a memorial to Mozart on December 10, 1791 – only five days after his death. The loveliest performance comes from Marlis Petersen’s Pamina, singing with even, pellucid tone, phrasing gracefully and embodying the character’s gradual transformation from girlish innocence, through suffering (her G minor aria mingles vocal poise with uncommon urgency of feeling), to radiant womanhood. Duncan Druce (October 2001). Extend such thoughtful, profound probity to the whole set and you have interpretations where within the letter critically observed, a numinous potency breaks free. Her Cherubino is breathless with hormonal excitement (‘Voi che sapete’ wonderfully ornamented in the repeat), her Countess aches with pain. On the evidence of this first release, I am inclined to greet the venture with enthusiasm and delight. It isn’t perhaps unreasonable to think that Mozart may sometimes actually have wanted a pair of repeated notes (in that Act 1 trio, for example). Mozart’s 1785 dedication of six quartets to Haydn reads: ‘May it therefore please you to receive them kindly and to be their Father, Guide and Friend.’ Respect is clear; but when the 96-bar Andante con moto of K428 offers a strong reminder of the 96-bar Affettuoso e sostenuto of Haydn’s Op 20 No 1, also in A flat and in compound time, affection becomes implicit too. ... the most renowned symphony of all time. 25 in G minor, K183 by Wolfgang Amadeus Mozart (1756-91). The spacious and outgoing E flat work is no less sympathetically done, with plenty of feeling for its special kind of broad lyricism; I particularly relished the gently springy rhythms and the tenderness of the string phrasing in the first movement, and Lewis’s beautifully shaped phrasing in the Larghetto. Not only does one hear the notes with more transparency than on a modern instrument but one also gets a stronger sense of Mozart’s larger world. Black has returned to the earliest sources of the work: Mozart’s incomplete ‘working’ score, Süssmayr’s ‘delivery’ score and the first printed edition of 1800, which even so soon after the work’s genesis was already manifesting accretions and errors that place us at a further remove from Mozart’s intentions. If I am commenting more on characterization than on actual singing as such, that is because this is so much more a realization of the work than simply a performance of its music. Although some roles have been as well or better sung on rival sets, none is so consistently cast. In the solo concertos, Carmignola is recorded with varying but small changes of volume. 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. David Patrick-Stearns (February 2015). 29 in A major, K201 (1774) Symphony No. The best recording of each. Perfection – or something very close to it – is in the service of freedom. Call me a killjoy, but my pulse rate rarely quickens at the prospect of Mozart’s pre-pubescent music. Some cuts Mozart made before the first performance are followed, such as the abridged cavatina for Idomeneo and the Priests (as they prepare for Idamante’s sacrifice), and the king’s final aria “Torna la pace” is omitted. Belgian period-instrument orchestra Anima Eterna’s exuberant performances reveal a natural union of pioneering spirit and refreshing musical flavours. You won't hear the full, creamy tone found in either of Te Kanawa's Elviras (for Davis and Maazel), but I think the dimension of hurt pride and intense determination tells us a lot about Elvira that more placid, better-equipped singers, such as Zylis-Gara (Bohm), can miss. Other music is reinstated – nowadays one expects to hear Elettra’s “D’Oreste, d’Aiace”, and with its preceding accompanied recitative in full, but Fischer also restores the magnificent ballet music at the end of the opera (included separately on the fourth disc). 36, and No. Anett Fritsch; Munich Radio Orchestra / Alessandro De Marchi. Her Mozart arias are sublime. Especially memorable are Ibragimova’s chaste thread of tone in the dreamlike E major Trio, and Tiberghien’s questioning hesitancy when the plaintive Minuet theme returns, an octave lower, after the Trio. There are other examples of such flexibility, sometimes a shade disconcerting (mainly, perhaps, because we aren’t used to it), but always with good dramatic point. As Anna, Margiono sometimes sounds a shade stretched technically, but consoles us with the luminous, inward quality of her voice and her reading of the role, something innate that can’t be learnt. Point and purpose explained. Discover a composer of genius through the greatest recordings Available with an Apple Music subscription. As a whole I felt the performance conveyed a welcome immediacy and spontaneity. There are excellent performances, too, from Corena’s verbally athletic Bartolo and Dickie’s alert, ironic Basilio. Symphony No. 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 Ladies sing and blend as well as they act, while the trio of boys is less hooty and better tuned than most. Hilary Finch (December 1987), Sols incl Allen, Verness, Ewing; London Philharmonic Orchestra / Bernard Haitink. And she finds an extra injection of fire for the Turkish episode in K219’s finale. 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. The original recordings were from the 80s, and repackaged as part of a box set in the 90s. They didn’t spoil my enjoyment of the DVD, and nor did anything else. Nothing is forced: the quick movements are fast enough for the passagework to sound brilliant but always with space for elegant shaping. As in Mozart’s performances, the male comprimario parts are doubled, Bartolo/Antonio and Basilio/Curzio, and following the precedent of the original singer, Michael Kelly, the Curzio has a stammer – Mozart initially objected to that, but Kelly (or so he says in his reminiscences) won him over. His tempos are marginally quicker than most, and the orchestra often speaks eloquently of the drama: it rages at the beginning of ''Cosa sento? This new recording from Japan, which joins Suzuki’s scholarly and startling Requiem, is fully worthy to join them. She plays with and smiles through her opening aria with a delightful freedom of technique and expression, nothing daunted by its tessitura, even adding decorations to the already-demanding vocal line (the whole recording is literally adorned by small embellishments, naturally delivered). Most arresting of all is the slow movement, for these musicians a sequence of pain and abraded nerve-ends behind a smokescreen of Andante cantabile. Then he brings to the work, as does his orchestra, the experience and knowledge gained through recording the Mozart concertos and late symphonies on period instruments. Mozart: The Great Piano Concertos, Vol. 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. Britten secures marvellous performances of these two symphonies by the 18-year-old Mozart. The Minuet is very forcefully played. 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. David Vickers (August 2006), English Chamber Orchestra / Murray Perahia pf. Vaness is an important soprano whom we shall hear more of on record. And in the presto finale, where Brendel is choppy and rather slow, Goode is exciting as well as articulate and wonderfully adept at getting from one thing to another. Mozart & Shostakovich Alexander Kerr & the DSO Live recording from the Meyerson Symphony Center Jan. 8 – 10, 2021. The popular notion that equal temperament reigned exclusively after JS Bach just isn’t true. 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). 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. Listen to their relationship in ''In quali eccessi'': it could hardly be more potent, more intensely Mozartian. The Leipzig Radio Chorus and the Dresden State Orchestra provide splendid support and Philips's digital recording is uncannily vivid. And, lo and behold, here is one. But then he has by his side a Konstanze to stop all hearts. Both Despina and Alfonso are played traditionally and with notable brio by Garmendia and Rivenq. All this thoroughness of approach would be of little avail were the performance in any way inadequate, but Gardiner's reading is in almost every respect profoundly satisfying. Aaron M. Green is an expert on classical music and music history, with more than 10 years of both solo and ensemble performance experience. Prim, middle-aged Ottavio doesn’t stand a chance against Anna’s obsession with her father. As in all Glyndebourne performances, the sum is often greater than the parts, and the cast works together as a team better than any save Walter Legge's assembly for Giulini (HMV). ''Crudel, perche finora'' has a charming sensuality. Thomas Allen conveys, by voice alone the saturnine quality of his Giovanni, even without the help of his leering, daemonic portrayal. They contain some of the most polished and classically stringent compositions. Yet it does not quite have the opera-house aura that some Figaro performances on record achieve. The singing is fine and the OAE play like angels. The arrival of the statue at Giovanni’s dinner-table is tremendous, the period trombones and timpani achieving an appropriately brusque, fearsome attack. That having been said, I find Davis's pacing marginally more exciting. 33 in B flat major, K319 Amsterdam Baroque Orchestra/Ton Koopman Rec November 1988 (No. Pienaar pays attention to the oft-forgotten grazioso element in the first movement, eschews metrical stiffness in the Minuet, yields to the Trio’s distinctive flow and refuses to turn the March into a janissary bash. With Christie going all the way with her, musically speaking, ‘Traurigkeit’ itself is heart-rending in its G minor sorrowing, ‘Martern aller Arten’ the epitome of determined defiance and resolution. On this album you'll hear selections from Marriage of Figaro, Cosi fan tutte, La clemenza di Tito, and more. Kavrakos sounds a little too gentle for the Statute, ideal though for the opening scene's Commendatore. This complete recording (minus only the simpler versions of ''Fuor del mar'' and the shortest version of Neptune's music) offers the intending buyer three, very well-filled discs. Numi pieta” has flawless spatial differentation between the groups of men. John Rawnsley is a Masetto very well worth Zerlina keeping, with more obvious presence than most. One is not so much conscious of dialogue-like interplay, but more of them blending to play as one instrument.The fine CBS recording has entirely captured the subtle inflections of detail, especially in the artists' irreproachable balance. Symphony - Symphony - Mozart: Wolfgang Amadeus Mozart raised the symphony to heights that in many respects remain unsurpassed. Constanze, who was having their first baby, thought some passages suggested birth pangs. Throughout this scene, Gardiner’s penchant for sharp accents is wholly appropriate; elsewhere he’s sometimes rather too insistent. The Symphony No. Haydn considered this symphony to be one of the … Mozart: The Violin Sonatas [Box Set, Collector's Edition]. The three childhood works on these discs – essentially keyboard sonatas with discreet violin support – go through the rococo motions pleasantly enough. 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. The recording is reasonably well balanced. Her unique perspective and interpretation of Mozart's music is exciting and refreshing. Hillevi Martinpelto, the Swedish soprano who made such an impression in the last BBC Cardiff Singer of the Year, is a properly impetuous Elettra who has no trouble with either the eloquent (''Idol mio'') or crazed side of the character and whose vocal allure will take her far. One of Goode’s characteristics is a touch of urgency that has nothing to do with impetuosity or agitation of the surface but rather with a projection of the discourse in the sense of carrying it forward and making us curious about what will happen next. Some may find all this “production” meretricious, gimmicky. His recordings keep on getting better and better, too – having anyway started out at a remarkable standard – so Mozartians may well be in for decades of treats to come, however piecemeal we are fed them. Gramophone is part of 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. 25 and Symphony No. Adam Fischer’s series of Mozart’s serious operas turns its attention to Idomeneo (Munich, 1781). Donna Elvira is tormented and slightly unhinged, allowing touches of bluster into her coloratura, whereas Zerlina is all sweetness and innocence, demonstrating plenty of agility in the closing phrases of ‘Batti, batti’, which is taken at a sprightly pace. 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. The Symphony No. You may recall a blog post from last year showing Diana Damrau performing the famous Queen of the Night aria from that filmed performance (view it here, if you can't remember). At the centre is Hilde Gueden, whose Susanna has echoes of operetta, although she remains a true Mozartian stylist. Regretfully, I have to note that this volume completes Blackshaw’s survey of the sonatas. The invigorating Concerto for two pianos (Salzburg, 1779-80) opens proceedings with a revitalising fix of blazing horns, vibrant woodwind and articulate strings. Rather a scant regard for superficial niceties. Mozart's Symphony No. The beginning of the opera sets your spine tingling with theatrical expectation. 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’”. And alongside operatic eloquence, his treatment of the surrounding texture suggests the civilised conversation and wit of Mozart’s wind serenades. Fischer’s Mozartian work is less hyped (and less polemical) than the corresponding efforts by René Jacobs, whose recent Idomeneo typified how superb period-instrument playing and a prestigious cast might still be greeted with mixed admiration from sceptics inclined to deplore scattered iconoclastic whimsies. It is Butt’s minute attention to these details, though, that makes this such a thrilling performance. Release date: Jan. 15, 2021 Ears accustomed to Wunderlich (Jochum), Schreier (Bohm) and Heilmann (Hogwood) need to get accustomed to Bostridge’s less refulgent tone, but in the context of this period-instrument performance, with a small band (smaller, I would judge, than Gardiner’s), his silvery voice and Mozartian know-how carry the day, though his voice sometimes sounds disconcertingly similar to the nimble, ingratiating tenor of the Pedrillo, Iain Paton. The performers show commendable integrity in their approach to using historical instruments: the characteristics and origins of the solo instruments are each enthusiastically described in the booklet-note but the loving care given to detail in this joyful music means this is never in danger of seeming merely a dour academic exercise. I can only hope for a set of the fantasies, rondos and miscellanea so that I can continue this paean. I experienced comparable delight listening to this beautifully recorded performance from Ronald Brautigam and the responsive Cologne period band. 40, the Piano Quartet, K. 478, and the String Quintet, K. 516) has excited much comment. And in any case his handling of it – joyously supported by the playing of the Scottish Chamber Orchestra – is supremely skilled; rarely will you hear such well judged orchestral balance, such effective marrying of textural transparency and substance. He is partnered by Dorothea Röschmann, who has already appeared as Pamina at Covent Garden, and in many other houses. But, for me, Schreier's performance is a revelation, and his recording is the one that I would take to my desert island if I had the choice. All three symphonies were written when Mozart was about 18 years of age, and they have the aura of fully-formed genius about them. The best Mozart works include a range of influential opera, symphony, concerto, chamber and sonata masterpieces by the legendary composer. Lindsay Kemp (January 2011), Emil Gilels, Elena Gilels pfs Vienna Philharmonic Orchestra / Karl Böhm. 25, 29 and 32 followed in 1964, likewise newly minted, rhythmically buoyant and quite foreign to the ‘grand old man’ style of Mozart playing then prevalent, and which Davis himself cultivated to a degree in the latter stages of his career. 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. At first you may, as I did, find Bostridge lightweight for Belmonte. It's a pity to be unable to be equally enthusiastic about the recorded sound. The first-movement tempo is on the leisurely side, giving him plenty of opportunity for refined and subtle moulding of the lines. The finale here is paced in an original and effective way. 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. She is not always quite matched in this by the orchestra, it must be said – the wind episodes in the Andante of K482 are rather cold and the rapt beauties of Cooper’s playing of the minuet theme in the same work’s finale are slightly trodden on by the unison violin line that goes with it – but in general the Northern Sinfonia provide backing that is musically engaged, texturally transparent and technically right up to the mark. The list is organised by genre, beginning with orchestral works, then moving though chamber, instrumental, vocal and opera. An un coagulated sound is an ever-present aspect of this ensemble’s style. 33 in B flat major, K319 Amsterdam Baroque Orchestra/Ton Koopman Rec November 1988 (No. The Hungarian coloratura Erika Miklósa has been making a speciality of Queen of Night over the past few years and shows just why in a technically secure and fiery account of her two arias. It is truly a remarkable and enjoyable experience to listen to these recordings. 9 is important: it’s not ‘To the New World’; it’s ‘From’ - this is very much a symphony that looks back, from the USA, to the composers native Bohemia. There’s little to choose between these players in the composite F major Sonata, K533/494. Brautigam generates an exhilarating forward sweep in the regal opening movement – Levin (9/98 – nla) is more inclined to linger over detail – and an infectious sense of fun in the finale, where swiftness never compromises immaculate clarity of articulation. More distinctively, Bezuidenhout’s elastic tempi give him room to probe for meaning but also allow panache that’s so much a part of Mozart’s buoyant temperament and prompts some delightfully elongated final cadences. An excellent corrective to a tradition that was untrue to Mozart, to be sure, but possibly the pendulum has swung a little too far. 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. Gramophone A Disc of the Year. Turn to K465 and hear the Adagio introduction paced to give the ‘false relations’ their due, the contrasts in the main Allegro properly stressed and the element of cantabile in the slow movement most lyrically expressed. Again the players balance polish, poetry and sheer bucolic enjoyment. Effects are clear in, for example, the Fantasia, K475. 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. His own cadenzas are short and to the point. In practice Gardiner's choices seem the right ones. Given the partial state of the work (only the Introit was complete in Mozart’s hand), it is supposed that this performance consisted of the Introit and the ensuing Kyrie fugue, for which an amanuensis filled in the doubling woodwind parts. Title Name Translations Symphonie nº 25 de Mozart; Symphony No. It’s difficult not to feel that the original is more effective, since the music seems to sit a little uncomfortably on string instruments. 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Dance without making a song and dance of it full rein to her Mozart... To perfection 2009 Messages: 13 Likes Received: 0 Dickie ’ s secret,., straight from the original Gramophone Reviews, which usually defeat the Mozart Sonata,,!