The vogue for stripped-back and reimagined modern completions is on the wane and Süssmayr’s attempt, for all its perceived inconsistencies and inaccuracies, is once again in favour in the crucible of musicological criticism. Gramophone is part of
In a letter to his daughter Nannerl, Leopold Mozart expressed his pleasure at the interplay of the various instruments after hearing Wolfgang perform the B flat Concerto, K456. Both are notable for their sense of style and their clean but always sensitive and musical articulation in runs, and both show a readiness to embellish Mozart's oflen sketchy melodic line: indeed, Brendel's elaboration of the solo part in the lovely Andantino cantabile episode in the final Rondo might almost be considered overdone, tasteful though it is. Even the bravura music, shaded with delicacy, emerges with expressive content, and I admired especially Meyer’s light, fluid articulation of semiquaver runs. The Ostman version has something of that, too. I prefer Brautigam’s more flowing manner in the G minor Andante, where Levin’s minute inflections can sound over-exquisite. Never have the 16 minutes of the first movement of the A major Sonata (K331) passed more graciously, for me at least, and the acknowledgement of the Adagio marking for the fifth variation is exquisitely tasteful. Wolfgang Amadeus MOZART (1756-1791) Symphony No. It helps, of course, that the mainly German-speaking cast delivers the dialogue naturally, with wit (the Three Ladies are outstanding), spirit and, in the temple scenes, a welcome lack of orotundity. 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. 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’. The Minuet is very forcefully played. In the appendices (on the end of CD2) are bits of recitative from Act 2, the longer of the sacrificial scenes, the longer of the brass versions of Neptune's pronouncement (plus the setting with wind—marvellous), and the scene in Act 3 for Elettra that replaced her aria. Stanley Sadie (October 2003), How lucky we are that the two greatest pianists of their generation, Murray Perahia and Radu Lupu, are firm friends and that they have collaborated in recording two pieces that are arguably the most successful examples of their respective genres (the Schubert is for piano duet; the Mozart for two pianos). The presence of Dame Joan Sutherland does have its drawbacks as well as its glory. Her singing is forceful and risk-taking, not so smooth and efficient as Margaret Price for Solti (Decca), sometimes glaring at the top, but more responsive to emotional predicaments. Release date: Jan. 15, 2021.
It was Lenny who brought Mahler back to Vienna, much to the player's initial dismay, and subsequent financial delight. 25 in G minor, K183 (1773) Symphony No. This new set emphatically replaces the startlingly innovative but sometimes eccentric Harnoncourt (Teldec/Warner Classics). Still, it would be hard to imagine more persuasive performances than we have here from the ever-rewarding Tiberghien-Ibragimova duo: delicate without feyness, rhythmically buoyant (Tiberghien is careful not to let the ubiquitous Alberti figuration slip into auto-ripple) and never seeking to gild the lily with an alien sophistication. 29; 33), Waalse Kerk, Amsterdam WARNER APEX 2564 61430 2 [74.56] Advertising on Musicweb: Donate and keep us afloat . The singing is fine and the OAE play like angels.
Exceptional sound throughout – like the playing, quite out of the ordinary run. Symphony No. 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. No Mozart collection would be complete without these performances. He has his singers include a lot of appoggiaturas, but not with much consistency (though without the wanton promiscuity of the advice in the New Mozart Edition score): sometimes a phrase and its response are treated differently. The string tone is pared down and makes quite modest use of vibrato, the woodwind is soft-toned (but happily prominent). But the line of his playing, appropriately vocal in style, is exquisitely moulded; and the only reservations one can have are that a hushed, 'withdrawn' tone of voice, which he's little too ready to use, can bring an air of selfconsciousness to phrases where ordinary, radiant daylight would have been more illuminating; and that here and there a more robust treatment of brilliant passages would have been in place. 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. His is a wonderfully virile, vital reading that gives pleasure to the ear, as much in ensemble as in aria. The Quatour Ebène trust Mozart’s directive; and Otto Jahn’s belief that this dusky movement is also an ‘affecting expression of melancholy’ makes sense at this pace. 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. 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 reading of the earlier K379 is just as thoughtful, the opening movement achieving a more ethereal quality than Podger and Cooper, Vogt arguably the more imaginative keyboard player. This is his third such coupling; the first appeared in 2002 (Nos 21 and 24 – 4/02), so at this rate he’ll be about 80 by the time he finishes. The subtitle of Dvořák’s Symphony No. These are unusually expansive works, their first movements each close on 15 minutes’ music, prolific in their thematic matter and richly developed. The casting of the smaller parts doesn't make for such vibrant theatre as in either Davis or Haitink; but the care originally lavished on the production by Walter Legge is celebrated in remastering which cuts out glare and distortion, while losing none of the depth and perspective which belong uniquely to Giulini's reading. 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. The sound is satisfactory, for a set of this vintage, and no lover of this opera should be without it. The shorter pieces, enterprisingly chosen, set off the great works admirably. It's a pity to be unable to be equally enthusiastic about the recorded sound. 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. Levin’s are longer, cleverer and more consciously showy. They demand playing that shows a grasp of their scale, playing that makes plain to the listener the shape, the functional character of the large spans of the music. Carolyn Sampson takes the bulk of the soprano solos (the ‘Laudamus’ is taken by the second soprano, Olivia Vermeulen, as is traditional) and does so with the lithe coloratura, rich, silky tone and innate identification with this music familiar from her sacred Mozart collection with The King’s Consort (Hyperion, 5/06), and intertwines memorably with Olivia Vermeulen in the duet and trio of the Gloria. 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. On this album, which spans three disks, includes works like the Clarinet Concerto in A, Horn Concerto No.3 in E flat, Horn Concerto No.4 in E flat, Concerto for Flute, Harp, and Orchestra, Bassoon Concerto in B flat, Flute Concerto No.1 in G, and more. Tempi are aptly chosen (the opening Allegro properly maestoso), and accompanying figuration lives and breathes, not least in the Adagio, where the horns inject delightful touches of jauntiness into the poetic reverie. 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. To my mind, the Britten disc is a revelation. Richard Lawrence (August 2011), Sols incl Schäfer, Petibon, Bostridge; Les Arts Florissants / William Christie. Director and fortepianist Jos van Immerseel is a veritable pioneer of period Mozart. The three childhood works on these discs – essentially keyboard sonatas with discreet violin support – go through the rococo motions pleasantly enough. In the first movement, with its suggestion of a march for toy soldiers, Levin is more reflective, Brautigam more playfully extrovert, stressing continuity of line above rhythmic and tonal nuance. About Mark Allen Group
"[Symphony] No. Then it has in Haitink as cogent a conductor as any who have gone before. It is tempting to simply choose the last symphonies that Mozart wrote but this would be at the expense of earlier and I would argue equally important works. 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. In contrast, the Danish Radio Sinfonietta’s modern instruments play with impeccable sense and style, and Fischer quietly gets on with delivering outstanding results that bespeak natural judgement of Mozartian music drama: his pacing, shaping of phrases and balancing of strings with woodwind textures are magnificent, and the theatrical effects in the orchestration emerge lucidly. These are small, almost trivial points, worth raising only because there is so much here that demands criticism by the highest possible standards. Nalen Anthoni (November 2011). 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 voices are generally lighter and fresher-sounding than those on most recordings of the opera and the balance permits more than usual to be heard of Mozart's instrumental commentary on the action and the characters. It is a commentary on the times, on the astuteness of the casting here and on the capacity of a strong conductor to make the whole so much more than the sum of its parts that this version can stand comparison with any, not only for its grasp of the drama but also for the quality of its singing. The solo quartet is unusually fine and well balanced, and if I say that Margaret Price sings the prominent soprano part better than I can ever remember having heard it sung, this is in no way meant to disparage the equally beautiful singing of Trudeliese Schmidt, Francisco Araiza and Theo Adam. Vladimir Jurowski chooses the Vienna version: so out goes “Il mio tesoro”, in comes the duet where Zerlina threatens Leporello and ties him up. 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). It is, of course, a period-instrument recording, and to my ears rather more evidently so than many of those under John Eliot Gardiner. Get Details. Anett Fritsch; Munich Radio Orchestra / Alessandro De Marchi. I also wished he would not taper, dynamically, the phrase-ends in the overture, which sounds to me weak-kneed and has no imaginable historical justification. Even after several hearings I’m unreconciled to Jacobs’s ultra-jaunty tempo for the luminous, ethereal opening of the Act 1 finale. Horns and trumpets bray incontinently in the Queen of the Night’s “revenge” aria, while the superb Berlin wind players take the fabulous opportunities Mozart offers them with flair and eloquence. Nalen Anthoni (January 2009), Academy of Ancient Music / Christopher Hogwood. Kleiber’s Figaro is a classic of the classics of the gramophone: beautifully played by the Vienna Phil, conducted with poise and vitality and a real sense of the drama unfolding through the music. ... an Eine kleine Nachtmusik that just about defines great Mozart playing, and hands down the best performance of the Marriage of Figaro Overture -- all this in addition to the Szell party-pieces of Symphonies 40 and 41. Here's a fantastic box set of over 230 pieces of Mozart's music. Sols incl Miah Persson, Anke Vondung, Ainhoa Garmendia, Topi Lehtipuu; Glyndebourne Chorus; Orchestra of the Age of Enlightenment / Iván Fischer. 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. Secondly, in the last Act he places Susanna's aria before, instead of after, Figaro's. Stanley Sadie (December 1979), English Chamber Orchestra / Benjamin Britten. Be it high drama or lyrical contemplation, Pienaar scans phrases with a fluidity that releases the music from rhythmic inertia. It’s given to very few to play Mozart as well as Richard Goode, who seems to me to pitch the rhetoric just right and sustain an ideal balance of strength and refinement. Reviewing the Requiem (1/15), I was disappointed that the acoustic and engineering blurred the inner voices, obliterating Mozart’s (or Süssmayr’s, Eybler’s or Suzuki Jnr’s) counterpoint. 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. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. Sometimes, perhaps most conspicuously in the Act 1 trio where Cherubino is uncovered, the Count’s authoritarian pronouncements are given further weight by a faster tempo: it gives them extra decisiveness, but creates an attendant problem as the music then has to slow down. 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). 25 in G minor for Practicing and Recording (COVID-19- Social Distancing ensemble playing with yourself or friends via recording sessions)-count you in and metronome clicking throughout the track. Interpretation is always carefully thought through and heartfelt. This is a classic performance, memorably accompanied by the VPO and Böhm. While admiring the flux of intensities, dynamics, shapes and colours he sets before you in the Rondo, I wondered three-quarters of the way through whether the totality was going to achieve enough weight. Both her arias are firmly contoured and involving – ''Rammenta la piaga'' she declaims, and we know this Anna still feels the pain of her father's death. 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. In the first place, as with so many recommendable ones of operas these days, it has the best of both worlds: the experience of recent stage performances refined under studio circumstances – including one significant change of cast. 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). 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. Ulrich Hübner plays with attractive immediacy in the Third Horn Concerto, composed around 1787: the poetic Romance has a lyrical elegance one seldom hears from even the best natural horn players, and an infectiously sunny performance of the dance-like Allegro concludes this magnificent recording with a charismatic flourish. 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. Add to that the stylish singing of Alfredo Kraus and Giuseppe Taddei and the central quartet is unimpeachable. Mozart's Symphony No. 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. But then he has by his side a Konstanze to stop all hearts. 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). Duncan Druce (October 2001). But amid the music’s chatter and trickle, only the doleful minore episode in the minuet finale of K30 and the carillon effects in the corresponding movement of K14 (enchantingly realised here) offer anything faintly individual. Throughout this scene, Gardiner’s penchant for sharp accents is wholly appropriate; elsewhere he’s sometimes rather too insistent. That performance is hypothesised here with slimmed-down vocal and string parts, and with trumpets and drums missing from the Kyrie (on the presumption that the parts hadn’t been provided by that time). In the Overture and some of the early numbers, Christie is inclined to clip his rhythms with accents almost brusque, but once the Pasha and Konstanze appear on the scene, he settles into an interpretation that evinces the elevated sensibility that informs his Rameau, Handel – and indeed Die Zauberflote – on disc, strong on detail but never at the expense of the whole picture. The players likewise bring the crucial Mozartian gift of simplicity and lightness of touch (Ibragimova’s pure, sweet tone selectively warmed by vibrato) to the mature sonatas that frame each of the two discs. Just listen to it. Similarly, Kurt Azesberger is a vivid, uncaricatured Monostatos, overseeing a band of very Viennese slaves. Fritsch’s is a light soprano – not unlike Maria Bengtsson’s, whose Mozart disc I reviewed last month – but she does so much more with the text and characterisation. 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. The best Mozart works include a range of influential opera, symphony, concerto, chamber and sonata masterpieces by the legendary composer. Seldom, either, will you hear such expertly chosen tempi; generally these performances are on the quick side, but rather than seeming hard-driven they exude forward momentum effortlessly worn. 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. Jonathan Kent follows up his superb Fairy Queen with a gripping account of what some people consider to be Mozart’s “problem opera”. They ought to find the new version solving many of their difficulties. On the evidence of this first release, I am inclined to greet the venture with enthusiasm and delight. A classic disc – the fruitful collaboration of great artists. Her Susanna is coquettish, with rolled Rs in ‘dolce susurro’ making my heart skip a beat. 29 in A major, K201 (1774) Symphony No. 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. 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). Purely on grounds of performance alone, this is one of the finest Mozart Requiems of recent years. Over the years, Gramophone readers may have become bored with my repeated advocacy of the use of proper appoggiaturas. Great Mozartians from Clifford Curzon to Alfred Brendel to Clara Haskil left surprisingly few recordings of the solo sonatas and variations, which is why Kristian Bezuidenhout’s mandate to record all of them on fortepiano for Harmonia Mundi catches the attention. Small string section, but really heavy hitters - I had Boston Symphony violinists, Boston Ballet, Esplanade Pops … 25 av Mozart; Simfonia núm. A much-mistreated piece emerges in a different light. Tempos are admirably judged. Blackshaw is one of the few who know how to make the music sing and dance without making a song and dance of it. A special word of praise must be given for the handling of the recitative, which really has the feeling of a live performance and is accompanied with just the right amount of embellishment by Martin Isepp. I experienced comparable delight listening to this beautifully recorded performance from Ronald Brautigam and the responsive Cologne period band. There is an emphasis on percussion for violin and brass parts but we also employ the Ocarina and Pan Flutes to replace the original European wood wind instruments. A recording made a year earlier, by René Jacobs and the Freiburg Baroque Orchestra of the Prague Symphony and the Jupiter, is more like it. Hilary Finch (December 1987), Sols incl Allen, Verness, Ewing; London Philharmonic Orchestra / Bernard Haitink. 41 in C (‘Jupiter’) First of all, the nickname. The C minor work, K406, is an arrangement by Mozart of his Serenade for six wind instruments, K398. Prim, middle-aged Ottavio doesn’t stand a chance against Anna’s obsession with her father. As at the Queen Elizabeth Hall this creates the correct sense of internal tensions within external formality. Gordan Nikolitch goes further. But Alfred Poell’s Count makes up in natural authority and aristocratic manner what he lacks in sheer power, and he shows himself capable of truly sensual singing in the Act 3 duet with Susanna. Having delivered herself of a fleet, easy ‘Ach, ich liebte’, Schäfer (who wasn’t in the original cast) pierces further than does any other interpreter into the soul of the woman who is both physically and emotionally imprisoned. The Count’s is an unenviable role: nobody likes him, and by Act 4 he has begun to wear his “foiled-again” expression too often. Lionel Salter has pointed out in the past the difficulty in deciding the precise situation of the two donne. BBC Radio 4's Front Row A Disc of the Year. 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