Mathias Zachariassen navigates notoriously wide leaps with unusual assurance in his entrance cavata “Se di lauri il crine adorno” (Mozart had to compose this aria five times before the original singer was content with it); Zachariassen also copes better than most with the fiendish technical gauntlet thrown down at him in the furious “Quel ribelle e quell’ingrato”. 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. I wouldn't rate the LPO strings quite on a par with Bohm's VPO or Giulini's Philharmonia, but as a whole the orchestral playing is as taut as the direction. 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. 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. It was supposedly completed in Salzburg on October 5, a mere two days after the completion of his Symphony No. Wolfgang Amadeus Mozart was truly a musical genius who composed an impressive body of work, all before dying at the young age of 35. 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. The Minuet is very forcefully played. Bezuidenhout’s stealth weapon, though, may be the unequal temperament of his copy of an 1805 Anton Walter instrument. Nikolitch doesn’t. Schwarzkopf's Elvira, together with the orchestral playing, is the glory of this Don Giovanni. At the heart of Act 3, Henriette Bonde-Hansen’s solemn characterisation of Aspasia coming to terms with being forced to drink poison is show-stopping. ... By Symphony No. The Tamino and Pamina are well nigh faultless. 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. Mozart: Symphonies Nos.25 & 29 / Clarinet Concerto by Peter Schmidl [Clarinet] ... one of the finest symphonies Mozart wrote, and one of my top ten symphonies personally. It will not be to everyone's taste. Anett Fritsch; Munich Radio Orchestra / Alessandro De Marchi. The best recording of Mozart’s Piano Concertos. But, like all the other singers and the keenly spoken Pasha of Low, he fits easily into the performance’s overall and likeable concept, so I am not inclined to labour this slight drawback. Here is a Figaro to put with the 1973 Glyndebourne production placed among the top five operatic DVDs (4/08). Listen to extracts from each of the recordings in our 'Mozart: Great Recordings' playlist on Apple Music. After such joie de vivre, the Flute and Harp Concerto (Paris, 1778) features sensitively judged playing from Frank Theuns and Marjan de Haer. Nigel Robson copes splendidly with the concerned Arbace, most touching in his recitative before his second aria (usually omitted) and then sure-voiced in the difficult divisions in that aria itself. 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). Butt’s outlook on the work is apparent from the very beginning: the gait of the string quavers is more deliberate than limping in the first bar, and this purposefulness returns in movements such as the ‘Recordare’ and ‘Hostias’. Unlike the Eine Kleine Nachtmusik epithet, which stems from Mozart’s own description in his personal notebook, the word ‘Jupiter’ probably has nothing to do with Mozart. 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. 25 in G minor, K183 This page lists all recordings of Symphony No. Daniel Behle makes a highly appealing Tamino, singing the Portrait aria gently, as a tender, musing soliloquy, and sensitively conveying the Prince’s journey from confused impetuosity to dawning understanding of the priestly order in his scene with Konstantin Wolff’s kindly, un-hieratic Speaker. By and large, Christie steers a sensible course between Gardiner’s over-brisk performance and Hogwood’s rather relaxed effort. It becomes a subtle aspect of a range of expression Pienaar uses to penetrate music “very rich in activity, rich in personality and topoi”. Best Mozart Symphonies. I refuse to say. An interesting and worthwhile experiment even if it does not quite work. Argerich sets off with a will in the finale but doesn’t let herself get carried away in the Romanze’s central convulsion, sticking firmly to the tempo of the gentler outer sections. An invigorating first movement predominates, followed by a … Thus we have the longer, more elaborate ''Fuor del mar'', the shorter of the sacrificial scenes, the briefer of the two brass versions of Neptune's pronouncement and the ballet music. Discussion in 'Submission Room' started by mozarta, Dec 29, 2010. mozarta New Member. That said, the performance is scarcely less enjoyable than that of K456, not least in the C minor Andante, which at Brautigam’s unusually mobile tempo is just as touching, and (in the confrontational second variation) more dramatic, than in more gravely paced readings. A much-mistreated piece emerges in a different light. At the bargain level Jochum is just back in circulation (but his Konstanze leaves something to be desired) on DG, and at super-bargain don’t overlook the excellent Linz issue on Arte Nova, but just now I am going back to listen to Schäfer, Bostridge et al in that Quartet, Mozart performance on the highest level of achievement. The Symphony No. Not a word on ‘authenticity’ or ‘historically informed’ practices. It is, of course, a period-instrument recording, and to my ears rather more evidently so than many of those under John Eliot Gardiner. They ought to find the new version solving many of their difficulties. So is an emotional and intellectual dimension, probed through trenchant attack, elastic lines, ductile phrases and a wide dynamic range. 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. Hilary Finch (December 1987), Sols incl Allen, Verness, Ewing; London Philharmonic Orchestra / Bernard Haitink. This album is not only highly recommended from me, it's also highly reviewed by other classical music fans who purchased their recordings on Amazon. Who conducted the best Mozart: Mackerras or Jacobs? When Mozart later shortened this eight-movement work to a five-movement “symphony”, he enhanced the orchestration with cellos and drums. The string tone is pared down and makes quite modest use of vibrato, the woodwind is soft-toned (but happily prominent). This sonata, one of Mozart’s remarkable A major creations, came in the wake of personal tragedy, following the death not only of his father but also his friend, the gamba player and composer Carl Friedrich Abel, to whose memory the work is dedicated. Jacobs is freer over tempo than most conductors. He doesn’t attempt a Viennese accent in the dialogue (a fairly full version), but brings plenty of simple humour to the part. ‘Every phrase tingles,’ I jotted down frivolously as I listened to the opening Allegro of the G major Sonata, K301, truly con spirito, as Mozart asks, and combining a subtle flexibility with an impish glee in the buffo repartee. 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. 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. Just occasionally Perahia communicates an 'applied' quality – a refinement which makes some of his statements sound a little too good to be true. So much for the (quite important) nuts and bolts. Christie is now my recommendation if you want a period-instrument recording, with Bohm still there as a benchmark on modern instruments. The glorious tone and the richly lyrical phrasing of every note from Brain himself is life-enhancing in its radiant warmth. You can judge these things as well as anywhere in the March before ''Placido e il mar'', then in that chorus itself, the one clean in texture, brisk in articulation, the other suave and appealing in its 6/8 rhythm. Fritsch follows this up with two superb concert arias. Release date: Jan. 15, 2021 Urgent in ‘ Non so più ’, its beautiful pastoral scene spun out mesmerisingly by.!, offers a reading of spirit and refreshing delight, as is Perahia, with. This two disk set, collector 's edition ] release, I 've ever seen set emphatically replaces startlingly... Is fine and the finesse of detail is breathtaking Bonde-Hansen ; Danish Sinfonietta..., Gramophone readers may have become bored with my repeated advocacy of the surrounding suggests... Pastoral scene spun out mesmerisingly by Sampson of keen participation flow of tension in the great Act Quartet. Composer of genius through the greatest recordings Available with an ideal balance between chamber-musical refinement and rustic.! 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