Register now to continue reading Thank you for visiting Gramophone and making use of our archive of more than 50,000 expert reviews, features, awards and … All in all, though, this isn't a bad way to get the best of Mozart's symphonies at a budget price. 25 in G minor, K. 183/173dB, was written by the then 17-year-old Wolfgang Amadeus Mozart in October 1773, shortly after the success of his opera seria Lucio Silla.It was supposedly completed in Salzburg on October 5, a mere two days after the completion of his Symphony No. The BBC Music Magazine awards have given Charles Mackerras disc of the year for his 39th Symphony - … There is a great deal of variety from Lewis in matters of touch and articulation, and much refinement of detail: the shades of meaning in the shifts between major and minor, and in the often chromatic harmony, do not escape him and his colleagues. 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. On this occasion, at Modena in September, he conducts a direct, keenly articulated, inspiriting account of the score, obviously aware of what has been achieved in recent times by the authenticists, yet when he reaches the work at its most Masonic – the Act 2 trio and the scene with the Armed Men, Tamino and Pamina – Abbado, directing his beloved Mahler Chamber Orchestra, gives the music its true and wondrous import. They deal in light ironies, delicate apprehensions. Giovanni is certainly the most recorded of Mozart's operas, so the work must be much in demand among collectors who, like Giovanni in his search for women, seem unsatisfied by the available choice. Her Donna Anna is never quite a ''furia disperata''; the comparative weakness of her lower register and her lack of real impulse in phrasing make her as a weak match for Schwarzkopf's Elvira as Te Kanawa's Elvira is for Arroyo's superb Anna for Davis. The album opens with Haydn’s Symphony No. Alan Blyth (July 1984), Sols incl Finley, Samuil, Royal; Orchestra of the Age of the Enlightenment / Vladimir Jurowski. Lindsay Kemp (February 2008), Arthur Grumiaux, Arpad Gérecz vns Georges Janzer, Max Lesueur vas Eva Czako vc. Small string section, but really heavy hitters - I had Boston Symphony violinists, Boston Ballet, Esplanade Pops … Both Despina and Alfonso are played traditionally and with notable brio by Garmendia and Rivenq. 28 in C, K200. 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. This is a cast dominated, as much as was its live Glyndebourne predecessor, by its protagonist. As I have suggested, the recording is excellent. 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. As with all of Butt’s recordings, however, this Mozart Requiem is something of an event. Moving forward to Symphony No. 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. Imogen Cooper’s two previous Mozart concerto releases with the Northern Sinfonia and Bradley Creswick (12/06 and 8/08) have both been roundly praised and no one who enjoyed them is likely to be disappointed by this latest instalment. In the booklet accompanying this issue, Arabella Steinbacher writes: ‘These concertos have been with me since early childhood…I feel they are very close to my heart.’ Anybody tempted to dismiss this as a marketing ploy will soon change their minds on listening to these performances – they really do give the impression of a project backed by an unusual degree of sympathetic understanding. Raffaella Milanesi’s Baroque expertise is evident in her tormented Elettra; there is a hint of strained smokiness in “D’Oreste, d’Aiace” (which works), the Sturm und Drang character of “Tutte nel cor” is conveyed to perfection by Fischer and the ensuing storm chorus “Pietà! 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. Every note matters, both individually and as part of a phrase, and once again her microscopic alterations of touch make even the most mundane run of semiquavers dance and sing, imparting something undefinable and treasurable to her performances here. The Leipzig Radio Chorus and the Dresden State Orchestra provide splendid support and Philips's digital recording is uncannily vivid. 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). 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. David Vickers (June 2010), Sols incl Peterson, Kaappola, Behle; Akademie für Alte Musik Berlin / René Jacobs. #25, 28, 29) and 1953 (Sym. But his assumption of Giovanni is completely convincing. I refuse to say. 25 and Symphony No. 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. This audio clicking track works with Clarinet Quartet and Clarinet Quintet versio Roger Norrington’s recordings with the London Classical Players set the tone for historically informed … But these are minor issues, within these highly individual, deeply satisfying accounts. It tightens harmonic tension and supports rather than accompanies treble lines. Reviewing Igor Levit’s Bach/Beethoven/Rzewski Variations (11/15), I rashly concluded that I would be lucky to hear as fine a piano recording this year (meaning Gramophone Award year, rather than calendar year, incidentally). Her full-throated, positive singing, finely shaped, cleanly articulated, is a true match for Strehl’s.Hanno Müller-Brachmann is a properly lively and amusing Papageno, and delivers the role in a richer bass-baritone than many interpreters provide. He takes his time especially in the ‘Et incarnatus est’, its beautiful pastoral scene spun out mesmerisingly by Sampson. Don't worry, I've got you covered. Steinbacher finds her sweetest tone for the slow movements; elsewhere, there’s a strong awareness of the sense of fun that pervades many parts of these youthful masterpieces. 100 Songs — If you are addicted to Mozart, or discovering his music for the first time, then this is the perfect playlist for you. Philip Hope-Wallace, reviewing the original release, thought that it was worth a year at a foreign university. Nalen Anthoni (January 2009), Academy of Ancient Music / Christopher Hogwood. The staggered articulation is no mere anachronism. Hagley, the much and justly admired Susanna in the recent Glyndebourne production, offers a reading of spirit and allure. How subtly weighted are the fp accents in the slow movement of the F major, and how perfectly adapted to their harmonic environment. For my own part, I rather enjoy it, although there are some string passages that almost get lost. In the main recording we have a composite version of the surviving music for Munich 1981. Suave and appealing, delivered in a real baritone timbre, his Giovanni is as accomplished as any on disc. 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. Its delivery is easy and idiomatic. Every note, every detail, goes unnoticed. Daniel Barenboim (piano) English Chamber Orchestra (1967-1974) EMI 572 9302 (10 CDs) For the sheer exhilaration of discovering these extraordinary works as if for the very first time, Daniel Barenboim’s (right) first integral cycle with the English Chamber Orchestra still takes pride of place. Vaness is an important soprano whom we shall hear more of on record. Great Classical Music Gifts for Christmas, The Greatest Composers of the Classical Period, Biography of Ludwig van Beethoven, German Composer, Ensembles: Making Beautiful Music Together, Hommage a Frederic Chopin Meisterstuck Fountain Pen by Mont Blanc, Mozart: The Great Piano Concertos, Vol. Sharing with the Requiem its key and a gleeful exploitation of contrapuntal techniques, it piquantly demonstrates the advance in Mozart’s church style during the last 16 years of his life. Bryn Terfel and Alison Hagley make an outstanding Figaro and Susanna. Robin Golding (June 1978), Scottish Chamber Orchestra / Sir Charles Mackerras. Soprano Joanne Lunn’s tone is well nourished, with vibrato deployed judiciously to colour selected notes or phrases; of the other soloists, Matthew Brook’s bass responds sonorously to the sounding of the last trumpet (in German ‘die letzte Posaune’ – the last trombone) in the ‘Tuba mirum’. Gardiner’s set has a great deal to commend it. Not to evade the question, but it really does depend on the listener. 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. Symphony No. This is a classic performance, memorably accompanied by the VPO and Böhm. As reviews at the time reported, Fischer conducts with an unassumingly correct sense of timing and has the inestimable advantage of the OAE’s period instruments. 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. All are intuitively sensed and go beyond literal obedience to the written markings. Wolfgang Amadeus Mozart was truly a musical genius who composed an impressive body of work, all before dying at the young age of 35. Symphony - Symphony - Mozart: Wolfgang Amadeus Mozart raised the symphony to heights that in many respects remain unsurpassed. The definitive mozart piano concerto recordings I love piano music and have a great collection of Martha Argerich, Krystian Zimerman,Pollini and Horowitz playing Chopin,Lizst etc but I am looking to buy great recordings of Mozarts Piano Concertos and was wondering which artist is best … Symphony No. Here we have the best of all worlds. In fact, several of the recordings listed above were included in this box set. Her control and lyricism is bar none. Giulini does, one feels, occasionally hold back to allow a voice its moment of glory; and the Act 1 finale hasn't quite that thrilling inexorability as the dance hurtles from form to chaos. An excellent corrective to a tradition that was untrue to Mozart, to be sure, but possibly the pendulum has swung a little too far. Browse: Mozart - Symphony No. If you're new to classical music, the 10 albums I've listed below are some of my favorite Mozart recordings and songs. Here it is the very last concerto – often described as ‘autumnal’ or ‘valedictory’, given its proximity to Mozart’s death (although it may have been started up to three years earlier) – prefaced by the triumphant C major work whose chief motif seems almost to quote the Marseillaise. 25 in C Major, K. 503; from a 1947 recording featuring pianist Edwin Fischer and the Philharmonia Orchestra conducted by Josef Krips." 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. From the deeply felt, vulnerable recitative leading into ‘Traurigkeit’ she pours out Constanze’s woes in that pure, plaintive, highly individual tone of hers and, above all, offers a wonderfully fresh and inward execution of the text. Altogether, though, a very musical and appealing performance. It makes the music more complex and more interesting, certainly more challenging, to listen to. The best recording of Mozart’s Piano Concertos. 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. Marie McLaughlin sings Marcellina with unusual distinction. But I suspect I shall reach for this new recording as often as any, for its bubbling, crackling theatricality and an eager, yet unforced, sense of fun that never short-changes the opera’s central message of human enlightenment. 41 in C (‘Jupiter’) First of all, the nickname. 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. The best recording of each. The period woodwind, led by the virginal solo flute, are especially delectable in the serenading G major variation. 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. Yet it does not quite have the opera-house aura that some Figaro performances on record achieve. Most impressively, this performance captures the full theatrical potency of the unfurling plot. About Us; Chandos Records is one of the world's premier classical music record companies, best known for its ground breaking search for neglected musical gems. 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. Try the final section from ‘Doch du bist entschlossen’ – have you ever heard it sound so resolute, so detailed? 35 in D major, K. 385, also known as the Haffner Symphony, was composed by Wolfgang Amadeus Mozart in 1782. Refinement is perhaps the word that first comes to mind in discussing these performances, which are affectionate yet controlled by a cool, intelligent sensitivity. The subtitle of Dvořák’s Symphony No. Apart from the clear‚ rich sound of the period instruments and the precise‚ beautiful tuning‚ what impresses about this Mozart playing is the care for detail‚ the way each phrase is shaped so as to fit perfectly into context while having its own expressive nuances brought out clearly. Christoph Strehl is supple vocally and dignified dramatically as Arbace. Presiding in the pit is Pappano, sure of touch, and on stage, Erwin Schrott, a god’s-gift Figaro; he and his Susanna, Miah Persson, must be the handsomest pair in the world of opera. Robin Golding (October 1977). The last string quintets from Mozart’s pen were extraordinary works, and the addition of the second viola seems to have pulled him to still greater heights. As his antipode, Finnish soprano Anna-Kristiina Kaappola is a formidably venomous, full-toned Queen of the Night, the diamantine coloratura integrated into the main body of the voice rather than, as so often, a squeaky add-on. 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. It was supposedly completed in Salzburg on October 5, a mere two days after the completion of his Symphony No. 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. Over the years, Gramophone readers may have become bored with my repeated advocacy of the use of proper appoggiaturas. As to the ‘hunting’ finale, you’d go far to hear a performance of such darting wit and panache, or one that exudes such a sense of delighted collusion between woodwind – each one an operatic character in itself – and the fortepiano’s sweet, silvery treble. René Pape sings Sarastro: now at the peak of his career, he conveys all the role’s gravity and dignity in a gloriously sung performance. The Jupiter in particular has a wonderful bright grandeur, yet reveals details in the brilliant contrapuntal kaleidoscope of the finale that too often go unheard. Nalen Anthoni (Awards issue 2014), A delicately breathy sotto voce at the beginning of K421 presages promise. Nine crucial works. Maybe both work better in the house. Still, while I missed the oboes’ pastoral plaintiveness in movements such as the opening siciliano of K252, the sensuous warmth of the clarinets is fair compensation in the mellifluous A flat major Trio, or the Adagio of K253. Nick's pick for this week's Must-Have Mozart is a Nonesuch recording (79608) of pianist Richard Goode and the Orpheus Chamber Orchestra, playing Mozart's Piano Concertos No. However, this recording was released on vinyl in 2018 by a company called Analogphonic. Publication date 2019-10-23 Topics mozart, symphony no 25, symphony, mozart symphony, wolfgang amadeus mozart, wolfgang, amadeus. 25, 14 & 40 (Live) Show recording details. As at the Queen Elizabeth Hall this creates the correct sense of internal tensions within external formality. His most important relationship, as Finley puts it in one of the two bonus features, is with Leporello, each character both irritated by and dependent on the other. Nalen Anthoni (November 2011). Momentous Mozart. Perfection – or something very close to it – is in the service of freedom. Nor does slick dispatch do much for the first movement of the D major, K211; but this is not the shape of things to come. 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). In the first movements of both these quartets‚ for instance‚ the Mosaïques adopt a very similar tempo and tone to the Quartetto Italiano‚ but the Italians aren’t so rhythmically flexible; though the music is beautifully shaped‚ we move continually onwards at a steady pace‚ drawing attention to the overall effect. Not a word on ‘authenticity’ or ‘historically informed’ practices. Release date: Jan. 15, 2021. Here is personal involvement that from now on is present in full flower. The recordings were produced in the Henry Wood Hall in London and offer excellent piano sound; thus an unqualified recommendation is in order for one of the most valuable volumes in Philips's Complete Mozart Edition. About Chandos. (Beyer also contrived an Agnus Dei from the music of the Kyrie but that is not recorded here.) 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