The range, transparency and tonal veracity of the recording offer a total vindication of SACD. Their modes of expression play a crucial role too. True to form, though, there are controversial tempo choices and manipulations within a single number – say, in the Act 2 trio for Pamina, Tamino and Sarastro, which races out of the blocks before slowing right down for the final page. 19. Adam Fischer’s series of Mozart’s serious operas turns its attention to Idomeneo (Munich, 1781). HMV Choice #1 in Top 10 Symphonies List. That’s confirmed by this DVD. Suzanne Danco’s Cherubino isn’t exactly impassioned, and is really as much girlish as boyish, but it’s still neat and musical singing. (Beyer also contrived an Agnus Dei from the music of the Kyrie but that is not recorded here.) These include two new Mozart recordings; a new version of his landmark Beethoven symphony cycle plus a new collection of Beethoven concertos; a DVD of Abbado in Concert; as well as a new CD compilation, for which Abbado himself made the selections. The album opens with Haydn’s Symphony No. Figaro and Susanna are very much the centre here, and we like them not only because they sing and act well but because they are sympathetic in a modern way. The high and low roles are well catered for. Lindsay Kemp (January 2011), Emil Gilels, Elena Gilels pfs Vienna Philharmonic Orchestra / Karl Böhm. There are good opportunities to display such artistry in these two concertos, both of which have minor-key slow movements of considerable emotional sophistication, to which Cooper responds with depth and grace. Recordings of the … I experienced comparable delight listening to this beautifully recorded performance from Ronald Brautigam and the responsive Cologne period band. Who conducted the best Mozart: Mackerras or Jacobs? Mozart: Symphonies Nos. However, this recording was released on vinyl in 2018 by a company called Analogphonic. The Andante, warmly coloured by the two bassoons, moves at a gentle walking pace, yet never drags; the Minuet is strong and purposeful, with most distinguished wind playing in the Trio. Throughout Gardiner and his team recognize what he indicates in another note, the fact that Mozart conceived the work as through-written without any breaks in the piece's forward movement. Here is personal involvement that from now on is present in full flower. DG's recordings, taken from live performances, relate the occasions with satisfying impact. Symphonies Nos. Fischer conducts with a sure sense of pacing; dramatic details in the orchestral ritornellos of each aria are astutely brought out. Secondly, in the last Act he places Susanna's aria before, instead of after, Figaro's. It’s difficult not to feel that the original is more effective, since the music seems to sit a little uncomfortably on string instruments. Symphony No. This ebullient, beautifully co-ordinated reading began life in a production at Strasbourg at the end of 1995 when Andrew Clark reported in Opera that ‘rarely have Mozart’s exotic textures sounded so feather-light, or the instrumental obbligatos so naturally in context’. Once or twice her intonation seems marginally under stress but that is the price one pays for singing with so little vibrato, and it's worth it. 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. In the more opulently scored K482 (trumpets and drums, oboes replaced by clarinets) I ideally wanted a fuller string tone than the 14 Cologne players can muster. 35, 39 – 41. I wonder if Piotr Anderszewski has it in mind to record all of Mozart’s major piano concertos. Now it's time to add some music for the lovers of wind instruments. 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. Of the six works Mozart wrote for string quintet, that in B flat major, K174, is an early composition, written at the age of 17. Audio Clicking Track-Mozart's Symphony no. The subtitle of Dvořák’s Symphony No. And she finds an extra injection of fire for the Turkish episode in K219’s finale. In the following Andante, the first of three “violin concerto” movements, Nikolitch shows that he is as superlative a violin soloist as he is a conductor, as unerring in his understanding of lyrical eloquence as he is of dramatic timing. John Butt brings to Mozart the microscopic care and musicological acumen that have made his Bach and Handel recordings so thought-provoking and satisfying. The 50 greatest Mozart recordings (2019 update) Gramophone 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. Vladimir Jurowski chooses the Vienna version: so out goes “Il mio tesoro”, in comes the duet where Zerlina threatens Leporello and ties him up. Mellifluous is the word for his delivery of both arias, the voice lighter and smoother than Schreier's (Bohm), sweeter too, but less positive, and not negligible in characterization (Hall portrays him as rather elderly). 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. 25 in G minor (one of only two minor-key Mozart symphonies). Keyboard chuckles and flourishes punctuate the opening scene with the Three Ladies. Pamela Helen Stephen's Cherubino sounds charmingly youthful and impetuous; ''Voi che sapete'' is taken a good deal quicker than usual, and with a touch of comedy, and benefits from it. The fact that he knows the score inside out and that he loves the music passionately, shines through the whole performance: I can think of few, if any, live or on records, that have struck me as being so totally committed to the spirit of this great work, or have made it sound like a finished masterpiece—despite the fact that Mozart did not live long enough to write the score out in full, and that it was completed by his pupil Sussmayr. Suffice it to say that Gilels sees everything and exaggerates nothing, that the performance has an Olympian authority and serenity, and that the Larghetto is one of the glories of the gramophone. It has been suggested that Mozart wrote K515 and K516 to show King Friedrich Wilhelm II of Prussia that he was a better composer of string quintets than Boccherini, whom the King had retained as chamber music composer to his court. The producer’s two misjudgements are (I think) letting the company enter halfway through the Count’s aria and cutting off at the end of what is normally Act 3 so as (presumably) to intimate a new seriousness in what is to follow. They didn’t spoil my enjoyment of the DVD, and nor did anything else. On this occasion both are very positive ladies. (Mozart composed only one other, the Symphony No.40 in G minor, K. 550, and the use here of a key later identified with some of Mozart's most troubled and agitated music (the Symphony No. Muted strings, solo woodwinds and horn play sublimely during Ilia’s “Se il padre perdei”, and Henriette Bonde-Hansen’s sensitive singing also combines sweetly with the soft orchestration at the beginning of Act 3 (“Solitudini amiche…Zeffiretti lusinghieri”). But as his performance of the Alla turca Sonata, K331, shows, technique isn’t allowed to edge ahead of emotional and intellectual depth. For anyone wanting a recording of K482 as near perfection as one is likely to get, this new issue is the obvious answer. 29; 33), Waalse Kerk, Amsterdam WARNER APEX 2564 61430 2 [74.56] Advertising on Musicweb: Donate and keep us afloat . It was again repackaged in the early 2000s into the collector's edition box set seen here. There's also much dynamic subtlety – Brain doesn't just repeat the main theme the same as the first time, but alters its level and colour. The balance among the men is affected by the casting of Figaro with a weightier singer than the Count. The 14-year-old Mozart’s first attempt at an opera seria has fared extremely well on disc during the last dozen years: Christophe Rousset’s brisk performance (Decca, 5/99) has a star-studded cast that delivers excellent all-round singing (albeit marred by Giuseppe Sabbatini’s absurdly unidiomatic vocal bulging); Jed Wentz’s budget version for Brilliant Classics is admirably played and nicely sung; Sir Roger Norrington’s live recording from the 1997 Salzburg Festival has a variable cast and a number of cuts, but is conducted with unrivalled stylish conviction (Orfeo, 1/07). Robin Golding (March 1984), Sols incl Elizabeth Schwarzkopf, Christa Ludwig, Giuseppe Taddei; Philharmonia Orchestra / Karl Böhm. More crucially, Jacobs restores virtually every word of Schikaneder’s dialogue (hence the need for three CDs), sometimes eliding speech with music, as when Papageno’s opening song begins under the final words of Tamino’s monologue. 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 cast is excellent. He is, of course, closely associated with the tenor roles in Mozart's operas, and he must have sung as a soloist in the Requiem on countless occasions (he recorded it for Erato with Michel Corboz on STU70943, 6/67), but although he has been active as a conductor since 1970 he has rarely featured in this capacity on records issued in this country. Receive a weekly collection of news, features and reviews, Gramophone Likewise using a modern copy of an Anton Walter fortepiano, Brautigam favours rather fleeter tempi, and a more direct style of phrasing, than Robert Levin on his fine L’Oiseau Lyre recording with Christopher Hogwood (11/96 – nla). 795091 . With wide leaps in the tunes, and brisk rhythms in the strings, both symphonies are part of Mozart’s Sturm und Drang (storm and stress) music. Nevertheless, the wonderful playing of the Chamber Orchestra of Europe shows just how fully the earlier work, especially, is dominated by woodwind conversation and that it can’t be too distantly related to the sound world of Figaro’s ‘Non più andrai’. With the talents of the Academy of St Martin in the Field and pianist, Alfred Brendel, Neville Marriner conducts a brilliant collection of Mozart's famous piano concertos. It’s a well-made, enjoyable work, but not a great deal more than that. It was Lenny who brought Mahler back to Vienna, much to the player's initial dismay, and subsequent financial delight. His tempos are marginally quicker than most, and the orchestra often speaks eloquently of the drama: it rages at the beginning of ''Cosa sento? She is fully alive to the darker undertow of the D minor, perhaps the only disappointment being Abbado’s refusal fully to acknowledge the way the work’s Sturm und Drang demeanour is undercut by the whiff of Singspiel at the work’s close, the sound world of Don Giovanni giving way to that of Papageno and The Magic Flute. Duncan Druce (August 2014). Dare I say that Beethoven’s Diabelli Variations came to mind repeatedly in these three volumes? Thus Mozart could experiment and make significant contributions. 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. Find many great new & used options and get the best deals for Cd Mozart/ Symphony 25 29 Number 35/ Leonard Barnstin Conducts at the best online prices at eBay! However, the set is entirely successful on its own terms – whether or not you want to make comparisons with other favourite recordings. Finley’s embarrassed grins, as he tries to convince Donna Anna and Don Ottavio that Donna Elvira is mad, are a joy to behold; and his fear before the confrontation with the Commendatore in the supper scene is palpable. The original recordings were from the 80s, and repackaged as part of a box set in the 90s. This new set emphatically replaces the startlingly innovative but sometimes eccentric Harnoncourt (Teldec/Warner Classics). Nalen Anthoni (September 2008), Arabella Steinbacher vn Festival Strings Lucerne / Daniel Dodds. He is, as every singer should be, especially sensitive to the words, as well as to the music: one instance is his quite extraordinarily perceptive handling of the Recordare, in which the four soloists for once sing as if they really understand every word and inflection of the Latin text. Bezuidenhout seems to piggyback lesser works (variations) on to major ones (sonatas) by juxtaposing them together, paired according to similar chronology, revealing moments of synchronicity as well as dramatic leaps in Mozart’s evolution, such as on Vol 7 when the 1773 Six Variations on ‘Mio caro Adone’ in G major, K180, are followed, in 1774, by the gargantuan theme-and-variations final movement of the Piano Sonata in D major, K284, showing Mozart working with an invention and rigour that almost sound like another composer. 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: Symphonies Nos.25 & 29 / Clarinet Concerto by Peter Schmidl [Clarinet] Amazon.com. She maintains this high standard throughout in a winning performance. As Blackshaw himself notes, ‘the sonatas resemble mini-operas’. However, Karl Böhm’s cast could hardly be bettered, even in one’s dreams. But the conductor is evidently concerned to make Sarastro less venerably pontifical, more warmly human than usual; and Marcos Fink’s sympathetic, cleanly produced bass-baritone (though with ample resonance on the low notes) fits his conception well. It’s a flowering for Abbado too, as he summons a passionate advocacy that takes in the implications of key and time signatures on atmosphere and pacing, uses dynamic markings and intuitive accents to keep rhythm aloft, adjusts the timbres of the wind instruments (oboes are vivid or subdued, horns play in alto or basso) to suit the colouration he requires, and aerates the orchestral fabric for maximum clarity. The Leipzig Radio Chorus and the Dresden State Orchestra provide splendid support and Philips's digital recording is uncannily vivid. 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