Don't be put off by critics who suggest that these sonatas are less interesting than some other Mozart compositions, for they're fine pieces written for an instrument that he himself played and loved. 35, No. ... the most renowned symphony of all time. I thought the fandango in the Act 3 finale marred by coarse dynamic treatment. Thomas Allen conveys, by voice alone the saturnine quality of his Giovanni, even without the help of his leering, daemonic portrayal. 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. Ildebrando d’Arcangelo was the discovery of these performances: this young bass is a lively foil to his master and on his own a real showman, as ‘Madamina’ indicates, a number all the better for a brisk speed. ... By Symphony No. He argues the case in the notes, but misses two basic points: we know, from the original printed libretto, that the work was first given in its traditional order; and Mozart could not, at the time of writing his score, have intended the revised order (as Alan Tyson has proved). On those occasions Gardiner experimented with mixtures of the various plausible arrangements of the existing music. The 18-year-old composer's 29th symphony in A major might not have changed musical history, but it changed Tom Service's life. About Mark Allen Group Here are all the sonatas, plus the Fantasia in C minor, K475, which is in some ways a companion piece to the sonata in the same key, K457. Yet pulse is steady and nothing is piecemeal or dislocated. I fancy Mozart would have smiled in approval. With the odd proviso (I could certainly have done without the avian accompaniment to the dulcet wind-band music at the start of the Act 2 finale), I thought it worked brilliantly, enlivening reams of dialogue that, on disc, can all too easily sound tedious to Anglophone (and even to German) listeners. 19 "Dissonance" are brilliantly executed, but with the powerhouse talent and musicality of the Emerson String Quartet, not much else is to be expected. Extend such thoughtful, profound probity to the whole set and you have interpretations where within the letter critically observed, a numinous potency breaks free. The first is Misericordias Domini, an offertory composed in 1775 of which Mozart had a set of parts copied in 1791. 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. Receive a weekly collection of news, features and reviews, Gramophone 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. 35, 40, 41 - George Szell. Mozart: Symphony Nos. That having been said, I find Davis's pacing marginally more exciting. And alongside operatic eloquence, his treatment of the surrounding texture suggests the civilised conversation and wit of Mozart’s wind serenades. Showing 1 - 10 of 97 results There is no doubt that the orchestral playing here is unsurpassed. Truly Wonderful Mozart August 31, 2015 By Edwin O. It’s quite big playing and I like that, too, the range of sonority appropriate to the A minor Sonata, K310, in particular; and I can’t recall a recent recording of it which realises so well the sharp contrasts, the cross-cut abutments of dynamics, which are such a striking feature in all three movements. 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 reconstruction used here, slightly different in some of its detail from others I have heard, works very well, making the familiar text’s rough places plain and logical; and it serves ideally for Meyer, with his rich and oily bottom register. 33 in B flat major, K319 Amsterdam Baroque Orchestra/Ton Koopman Rec November 1988 (No. Schwarzkopf's Elvira, together with the orchestral playing, is the glory of this Don Giovanni. Then it has in Haitink as cogent a conductor as any who have gone before. How best to take it in, 200 years later? 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). There is a rapt account of the Adagio and a lively Rondo, beautifully articulated; in both, the availability of the extra notes makes clear the logic of Mozart’s lines as he must have conceived them. Her unique perspective and interpretation of Mozart's music is exciting and refreshing. Or perhaps that is a way of saying that they give the kind of performance the camera likes: their energy is creditably youthful and spontaneous, and their facial expressions work largely through eyes and eyebrows. Mozart informed his father that he had composed the Serenade K375 ‘rather carefully’ to impress Herr von Strack, a Viennese nobleman sporting the splendid title of ‘Gentleman of the Emperor’s Bed Chamber’. 25 av Mozart; Simfonia núm. These last three symphonies, all completed in the summer of 1788, are not only his most famous symphonies but some of… Her Mozart arias are sublime. ''Crudel, perche finora'' has a charming sensuality. 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). 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 edition used of this tantalisingly incomplete work is that by Franz Beyer, published in 1989. The occasion is the publication of a new edition – by David Black, a senior research fellow at Homerton College, Cambridge – of the ‘traditional’ completion of this tantalisingly unfinished work, of which this is the first recording. The list is organised by genre, beginning with orchestral works, then moving though chamber, instrumental, vocal and opera. 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. Gardiner adopts the Moberly/Raeburn order of events in Act 3, the first, as far as I can remember, to do so in a recording. There’s nothing more demanding of mind and finger, heart and hand, than a Mozart programme such as this, which includes two of the greatest sonatas and the A minor Rondo. As a whole, tempos not only seem right on their own account but also, all-importantly, carry conviction in relation to each other. 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. Hans-Peter Westermann contributes a sweet-toned and neatly phrased account of the Oboe Concerto, yet again rather leisured in tempo, in the finale in particular, and with one or two orchestral oddities especially in matters of accentuation (characteristic of Harnoncourt’s direction). He is as much aware as Bohm of the importance of rhythmic impetus and natural flow, also of vital detail – such as the wind gurglings in ''Meta di vuoi''. In the 'little' G minor he hrings out by the choice of moderate tempi and legato phrasing (listen to how lovingly he shapes the second subject of the finale, for example), the uneasy tension implicit in the two outer movements, without making the music sound aggressive or nervous. Provided the musicians are of the finest quality, of course. In many respects he recalls the direct, unaffected, judicious conducting of Fritz Busch, one of his predecessors as Glyndebourne's Music Director (Busch's famous 1936 recording is still to be had – EMI, 3/83). The Act 4 finale has many good things—note the prominent giggling viola phrase where Figaro at last realizes that the 'Countess' is Susanna in disguise and the apt, unexaggerated but very effective, timing of the denouement: though I wish Gardiner had not risked sentimentalizing the Andante of the Count's plea for forgiveness by taking it so very slowly. His own cadenzas are short and to the point. Stanley Sadie (December 1979), English Chamber Orchestra / Benjamin Britten. Once or twice in Act 1 I felt that Gardiner's penchant for fierce accentuation was getting the better of him and calling attention to the podium rather than to the music, but the impression soon passed and one listened to the new revelations of the reading without let or hindrance. Sextet of 1776 77 are far slighter a nice balance between chamber-musical refinement and rustic earthiness much-loved recording has many. 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