Exceptional sound throughout – like the playing, quite out of the ordinary run. Kurt Azesberger is a suitably nasty Monostatos.Abbado allows a few neatly executed decorations. David Vickers (June 2010), Sols incl Peterson, Kaappola, Behle; Akademie für Alte Musik Berlin / René Jacobs. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of the ennoblement of Sigmund Haffner the Younger [].The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission … 25 in G minor, K183 by Wolfgang Amadeus Mozart (1756-91). Bezuidenhout’s stealth weapon, though, may be the unequal temperament of his copy of an 1805 Anton Walter instrument. She maintains this high standard throughout in a winning performance. Director and fortepianist Jos van Immerseel is a veritable pioneer of period Mozart. About Mark Allen Group There is no shortage of recordings to compare this new one with. Those who attended any of the three live performances from which this set has been made will confirm that they were evenings of thrilling music-drama. 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. 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. Nevertheless, their skilled dovetailing and intelligent use of tone colour speak of symbiosis. The emotional control of the characterisation is masterly and Böhm’s totally idiomatic response to the music is arguably without peer. Robin Golding (June 1978), Scottish Chamber Orchestra / Sir Charles Mackerras. LiveAbout uses cookies to provide you with a great user experience. Indeed, her complete series is a remarkably fine achievement, comparable with her account of the piano concertos. BBC Radio 4's Front Row A Disc of the Year. Then at a further concert, he performed alone the fullest version possible of the opera's final scenes, a fascinating experience, though one that in context of a stage performance might tire both singers and audience alike. David Threasher (December 2016), Joanne Lunn, Rowan Hellier, Thomas Hobbs and Matthew Brook (soloists) Dunedin Consort / John Butt. That’s confirmed by this DVD. 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. Well, I don't know if I'd go that far; but it is extremely difficult to choose between this and the Davis performance on Philips for non-stop momentum born of deep understanding of the musical expression of character and dramatic motivation. Listen to Mozart: Symphony No.25 in G minor, K.183 - 1. So many of them seem to gain in vividness when the interplay of pianist and orchestra is realised by musicians listening to each other in the manner of chamber music. Christoph Strehl is supple vocally and dignified dramatically as Arbace. For my own part, I rather enjoy it, although there are some string passages that almost get lost. Every tiniest detail here is thought through, and only the most painstaking forensics would find the slightest fault in the fingerwork (a very few bass notes don’t quite speak, and even more rarely an ornament is less than silky smooth, if you want to know). As a whole I felt the performance conveyed a welcome immediacy and spontaneity. 33 in B flat major, K319 Amsterdam Baroque Orchestra/Ton Koopman Rec November 1988 (No. 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. As Osmin, Ewing’s vibrant, individual bass-baritone is attractive on its own account but, as on the other period-instrument performances, one does rather miss a true bass voice in such a low-lying part (listen to Bohm’s Moll to hear what’s missing), and Ewing proves a benevolent, homely Osmin rather than a threatening one. Mozart - Die Zauberflöte (The Magic Flute) / Keenlyside, Roschmann, Hartmann, Damrau, Selig, Allen, Sir Colin Davis, Covent Garden (2003). John Steane (August 2008), Sols incl Zachariassen, Bonde-Hansen, Fontosh; Danish Radio Sinfonietta / Adam Fischer. There are happy and shapely performances of all three concertos here, but the particular delight is that of the latest and greatest of them, the Clarinet Concerto, which Wolfgang Meyer plays on a basset clarinet – that is, an instrument with an extension allowing it to add four semitones at the bottom of its compass. You can also hear there the advantage of the right-sized band and choir. Here that problem is largely avoided in a similarly grand acoustic: that, and the fact that the C minor Mass is a far more vocally orientated piece than the Requiem. Publication date 2019-10-23 Topics mozart, symphony no 25, symphony, mozart symphony, wolfgang amadeus mozart, wolfgang, amadeus. Even Despina – who I usually find an irritant – is irresistible here, a saucy minx determined to liberate Così’s sisters. 25), August 1987 (Nos. The Lucerne Festival Strings are a small enough body to allow even accompanying lines to be played in a positive, lively manner (notice the variants in the support the violins give to the returns of the rondo theme in K216’s finale). That having been said, I find Davis's pacing marginally more exciting. Purely on grounds of performance alone, this is one of the finest Mozart Requiems of recent years. 25 (Mozart) at the Mutopia Project (the Andante movement) Symphony No. Listen to extracts from each of the recordings in our 'Mozart: Great Recordings' playlist on Apple Music. Naturally we retain the Harp in the famous Flute and Harp Concerto because it is found … The purist in me noticed occasional over-smooth articulation and, at the other extreme, very short spiccato bow strokes (in the finale of K218, for example). Hagley, the much and justly admired Susanna in the recent Glyndebourne production, offers a reading of spirit and allure. The mellowness and sensitivity of Britten's performances are matched by the warmth of the Decca recording, which ably reproduces the Snape sound. The Ladies sing and blend as well as they act, while the trio of boys is less hooty and better tuned than most. With Christie going all the way with her, musically speaking, ‘Traurigkeit’ itself is heart-rending in its G minor sorrowing, ‘Martern aller Arten’ the epitome of determined defiance and resolution. Bryn Terfel and Alison Hagley make an outstanding Figaro and Susanna. 25 in G minor, K183 This page lists all recordings of Symphony No. 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). Perhaps I’m being greedy, but I’d have loved a souvenir of her Pamina too. 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. With this approach there might be a danger of sounding contrived‚ but even when adopting a mannered style‚ as in the Minuet of K499‚ the Mosaïques retain a strong physical connection with the music’s natural pulse – by comparison the Quartetto Italiano here seem a trifle heavy and humourless. Steinbacher has a way of searching out what gives each passage, each phrase, its individuality, getting it to speak to us through slight changes in dynamic or emphasis. 25 in G minor, K183 (1773) Symphony No. High points abound: the way Tetzlaff withdraws his sound to a whisper in the long, sinewy lines of the Andante of K454; the minor-key passage in the same movement, a tragedy no less profound for being fleeting. And pauses are decorated with lead-ins. ‘When Mozart played a simple scale,’ wrote Wanda Landowska, quoting the composer’s contemporaries, ‘it became transformed into a cavatina.’ That sums up the Bezuidenhout difference. Levin’s are longer, cleverer and more consciously showy. But certainly there is no want of dramatic life in Gardiner's direction. Their opening to K482 has all the rich grandeur it needs, and here indeed is one quality which some listeners may feel is a little lacking in Cooper. Natural horns lend a welcome abrasiveness to the tuttis; and the instrument’s variegated colours give added piquancy to the horn tune that sails in out of the blue near the end of the first movement. 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. Richard Lawrence (August 2011), Sols incl Schäfer, Petibon, Bostridge; Les Arts Florissants / William Christie. 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. Anett Fritsch; Munich Radio Orchestra / Alessandro De Marchi. Maria Ewing is the newcomer to the cast I referred to earlier, but you would hardly know it from her involving, often poignant singing, particularly in the recitative before ''Mi tradi'', itself sung with the runs made part of the worried expression. Pienaar pays attention to the oft-forgotten grazioso element in the first movement, eschews metrical stiffness in the Minuet, yields to the Trio’s distinctive flow and refuses to turn the March into a janissary bash. If you'll forgive me "tooting my own horn" - one of my favorite #38 "Prague" Symphony recordings is one which my own Chamber Orchestra produced in the late 90s - With a wonderful conductor, I contracted a great orchestra. Free shipping for many products! Similarly Lehtipuu is a charming and wide-eyed Ferrando and Pisaroni a warm-voiced and personal Guglielmo. Her unique perspective and interpretation of Mozart's music is exciting and refreshing. No Mozart collection would be complete without these performances. 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. 35 in D major, K. 385, also known as the Haffner Symphony, was composed by Wolfgang Amadeus Mozart in 1782. 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’. Thus Mozart could experiment and make significant contributions. The extended sequence of accompanied recitatives and arias in which the secret lovers Sifare and Aspasia discuss their dire predicament (Act 2 scenes 7-8) are delivered with dramatic poignancy. Nalen Anthoni (November 2011). Try it free. 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. Hi all, I have just posted a piano version of the Symphony 25 from Mozart if you want to have a look: 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). When this, the latest, was produced it was universally hailed: as faithful a representation of the equivocal comedy as one could wish. 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. Finley sings as well as he acts, apart from an oddly unhoneyed Serenade. The glorious tone and the richly lyrical phrasing of every note from Brain himself is life-enhancing in its radiant warmth. 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. How best to take it in, 200 years later? Yet it does not quite have the opera-house aura that some Figaro performances on record achieve. It is set in 1960, the world of La dolce vita, all scarves and dark glasses; but the location is Franco’s Spain (where the Fellini film was banned until after the monster’s death). When you take a long hard look at the work of W.A Mozart it is no minor challenge to have to select the best of his symphonic oeuvre. Moving forward to Symphony No. It is a visual and aural masterpiece. Alfred Brendel pf Academy of St Martin in the Fields / Neville Marriner, Brendel's first recording of Mozart's expansive and luxuriantly scored Piano Concerto in E flat , K482 appeared 14 years ago (8/69), and it is fascinating to compare it with this new one. At the centre is Hilde Gueden, whose Susanna has echoes of operetta, although she remains a true Mozartian stylist. The sound is satisfactory, for a set of this vintage, and no lover of this opera should be without it. Many appoggiaturas are now allowed by Glyndebourne. This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. They both woo with seductive charm. In the main recording we have a composite version of the surviving music for Munich 1981. 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. Experiments with alternative tuning – I’m thinking of Peter Serkin playing late Beethoven – can be colouristic revelations, which is also true of Bezuidenhout. Get Details. Carol Vaness's Anna, so imposing in the theatre, is both bold and impassioned, hardly an inexperienced girl yet properly outraged by Giovanni's behaviour. On the evidence of this first release, I am inclined to greet the venture with enthusiasm and delight. Then it has in Haitink as cogent a conductor as any who have gone before. "[Symphony] No. The Minuet is very forcefully played. 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. The list is organised by genre, beginning with orchestral works, then moving though chamber, instrumental, vocal and opera. An invigorating first movement predominates, followed by a … 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. How subtly weighted are the fp accents in the slow movement of the F major, and how perfectly adapted to their harmonic environment. With fierce competition among period-instrument performances alone – Norrington (Virgin, 11/91R), Gardiner (Archiv, 10/96), Östman (L’Oiseau-Lyre, 2/94) and, my own favourite, Christie (Erato, 5/96) all have their claims – to talk of an outright winner is absurd. The A major Symphony is no less well done, with muscular yet affectionate playing in the first and last movements, a glowing Andante, and a springy Minuet, with beautifully crisp dotted rhythms: I do not remember having enjoyed listening to it so much for a very long time. I also find myself uncomfortable with the ‘creative’ fortepiano continuo playing, which often draws attention to itself unduly at the expense of the voices – including, sometimes, in the lyrical music, where the piano supplements (and sometimes confuses) the texture, and in the recitatives where the player too cleverly echoes or pre-echoes phrases from the arias. Mozart, Brahms: Clarinet Quintets - Wlach, Vienna Konzerthaus Quartet | Athenaeus - Today 02:55 pm As always with Esoteric, no information about the provenance of the transfer. Regretfully, I have to note that this volume completes Blackshaw’s survey of the sonatas. 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. Repackaged in the Sinfonia concertante ; and so is his placement with the Philharmonic. They in the recent Glyndebourne production, offers a reading of spirit and refreshing flavours... This country has produced make her perfect for Mozart duty its ravishing Clarinet sonorities hn Orchestra... Some passages suggested birth pangs, neither Giuliano Carmignola nor Claudio Abbado inspired. Musik Berlin / René Jacobs to them, which would it be this one the,... 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