mozart symphony 25 best recording

Christie includes all the recently rediscovered music, as does Gardiner, but the choice of dialogue is markedly different, with Christie opting for a shorter script than Gardiner; Hogwood includes most of all. 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. 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). Gordan Nikolitch goes further. Refinement is perhaps the word that first comes to mind in discussing these performances, which are affectionate yet controlled by a cool, intelligent sensitivity. Try the final section from ‘Doch du bist entschlossen’ – have you ever heard it sound so resolute, so detailed? 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. Duncan Druce (October 2001). Meyer has less rounded, more reedy a tone than many players favour. The two sisters are gloriously sung – Schwarzkopf and Ludwig bring their immeasurable talents as Lieder singers to this sparkling score and overlay them with a rare comic touch. Richard Wigmore (February 2015), Netherlands Chamber Orchestra / Nikolitch. The presence of Dame Joan Sutherland does have its drawbacks as well as its glory. ‘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. By general consent, the performances of Don Giovanni in Sir Peter Hall's production at Glyndebourne in 1982 were considered profoundly satisfying, and therefore a special achievement in a work so hard to bring off both on stage and on the gramophone. 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. 14 through 19, were composed in Vienna in 1785. It's a revelation, AND the recorded sound is terrific. He gives you the overview, too, often powerfully. 28 in C, K200. Individual character comes first though. 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. Hi all, I have just posted a piano version of the Symphony 25 from Mozart if you want to have a look: You won't hear the full, creamy tone found in either of Te Kanawa's Elviras (for Davis and Maazel), but I think the dimension of hurt pride and intense determination tells us a lot about Elvira that more placid, better-equipped singers, such as Zylis-Gara (Bohm), can miss. 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. David Vickers (January 2011), Sols incl Terfel, Hagley, Gilfry; English Baroque Soloists / Sir John Eliot Gardiner. Jacobs, predictably, can both illuminate and infuriate. Get Details. 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’. Even the bravura music, shaded with delicacy, emerges with expressive content, and I admired especially Meyer’s light, fluid articulation of semiquaver runs. But, for me, Schreier's performance is a revelation, and his recording is the one that I would take to my desert island if I had the choice. The Three Ladies veer between speech and a kind of Sprechgesang, the “altes Weib” sings a grotesque snatch of Ländler before morphing into Papagena. 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. (Beyer also contrived an Agnus Dei from the music of the Kyrie but that is not recorded here.) 35, No. Giuliano Carmignola vn Mozart Orchestra / Claudio Abbado. The producer is David McVicar who has thought of a thousand good ideas and only two bad ones (anon), with a team that has done the Royal Opera House proud. 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. Suave and appealing, delivered in a real baritone timbre, his Giovanni is as accomplished as any on disc. At the end of the C major Sonata (K309), how delectable is the tiny relaxation of pulse to allow the lowest register to speak. 33 in B flat major, K319 Amsterdam Baroque Orchestra/Ton Koopman Rec November 1988 (No. This new set emphatically replaces the startlingly innovative but sometimes eccentric Harnoncourt (Teldec/Warner Classics). Mozart Symphony 25 Piano version. Anett Fritsch; Munich Radio Orchestra / Alessandro De Marchi. The Andante, warmly coloured by the two bassoons, moves at a gentle walking pace, yet never drags; the Minuet is strong and purposeful, with most distinguished wind playing in the Trio. 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. 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. Following the overwhelming popularity of our lists of the 50 greatest Beethoven, Bach, Chopin and Handel recordings, we have now gathered 50 of the finest recordings of Mozart's music – Gramophone Award-winning albums, Recordings of the Month and Editor's Choice discs, from legendary performers like Elisabeth Schwarzkopf and Benjamin Britten to modern masters like John Butt and Alina Ibragimova. Both have their good points, and both have first-rate soloists, chorus and orchestra (Barenboim has Sheila Armstrong, Dame Janet Baker, Nicolai Gedda, Dietrich Fischer-Dieskau, the John Alldis Choir and the ECO; Marriner has Ileana Cotrubas, Helen Watts, Robert Tear, John Shirley-Quirk and the ASMF Chorus and ASMF). By and large, Christie steers a sensible course between Gardiner’s over-brisk performance and Hogwood’s rather relaxed effort. Fischer conducts with a sure sense of pacing; dramatic details in the orchestral ritornellos of each aria are astutely brought out. The lighter voices of Sine Bundgaard and Lisa Larsson suit the roles of Arbate and Ismene perfectly, and Anders J Dahlin neatly dispatches the small role of the Roman tribune Marzio. But with the Mosaïques we’re made to listen to and appreciate the significance of each detail as it unfolds. Mozart: String Quartets K. 465 Dissonance / K. 458 The Hunt / K. 421, Mozart - Die Zauberflöte (The Magic Flute), Mozart: The Violin Sonatas [Box Set, Collector's Edition], B.A., Classical Music and Opera, Westminster Choir College of Rider University. Publication date 2019-10-23 Topics mozart, symphony no 25, symphony, mozart symphony, wolfgang amadeus mozart, wolfgang, amadeus. Ulrich Hübner hn Frank Theuns fl Marjan de Haern hp Yoko Kaneko pf Anima Eterna / Jos van Immerseel pf. As a whole I felt the performance conveyed a welcome immediacy and spontaneity. 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. This is a tremendous disc. There was no response, so he offered these two quintets for sale with the K406 arrangement to make up the usual set of three. Here is personal involvement that from now on is present in full flower. Richard Wigmore (May 2016). 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). The disc closes with what purports to be a re-enactment of an even earlier ‘first performance’ of the Requiem. 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. We think Emil plays first, Elena second, but could be quite wrong. This is a classic performance, memorably accompanied by the VPO and Böhm. Most impressively, this performance captures the full theatrical potency of the unfurling plot. Harriet Smith (February 2013). Having begun this review in grudging mode, I’ll end in the hope that these delightful, inventive performances presage a complete series of Mozart’s mature violin sonatas, with or without a smattering of childhood works. Mozart: String Quartets K. 465 Dissonance / K. 458 The Hunt / K. 421. The list is organised by genre, beginning with orchestral works, then moving though chamber, instrumental, vocal and opera. In a Mozartian opera reimagined in instrumental terms, fortepiano, wind and strings conspire and banter with captivating grace and legerdemain. The interplay between her and the woodwind in ''Venite inginocchiatevi'' is a delight, and her cool but heartfelt ''Deh vieni'' is very beautiful. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. #35), recorded in excellent sound for their era thanks to the location at Columbia's 30th St. studio. Glenn Winslade is a firm High Priest but Cornelius Hauptmann's bass is too woolly for the deus ex machina. 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. HMV Choice #1 in Top 10 Symphonies List. 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’. 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. Keith Lewis, the Ottavio, carries on the accomplished line of British Mozartian tenors that runs from Heddle Nash through Richard Lewis to Stuart Burrows. 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. The edition used of this tantalisingly incomplete work is that by Franz Beyer, published in 1989. Showing 1 - 10 of 97 results Watch Uchida in action on YouTube as she performs and conducts Mozart's Piano Concerto No. Like her mistress in her role, Petibon gives us a Blonde to make us forget just about every other soprano in the part on disc. Perfection – or something very close to it – is in the service of freedom. Wolfgang Amadeus Mozart - Symphony No.25 (Best Version) by ClassicalBoi. BBC Radio 3's 'Record Review' A Disc of the Year. 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. It was again repackaged in the early 2000s into the collector's edition box set seen here. His versatile shading of the orchestra during the contrasting slow and fast sections of Sifare’s “Parto: nel gran cimento” is sensitively attuned to Maria Fontosh’s switches between tender melodic outpourings and flowing coloratura. This disc brings together two musicians absolutely at the top of their game and with long experience of working together, as the easy dialogue between them amply demonstrates. 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. As in Mozart’s performances, the male comprimario parts are doubled, Bartolo/Antonio and Basilio/Curzio, and following the precedent of the original singer, Michael Kelly, the Curzio has a stammer – Mozart initially objected to that, but Kelly (or so he says in his reminiscences) won him over. Not uncharacteristically for her, the present concertos are both works she has recorded before – the D minor in 1998 (Teldec/Elatus, 6/99), the C major in 1978 (EMI, 4/00) and again as recently as 2012, during that year’s Progetto Martha Argerich at Lugano (EMI, 8/13). MA Music, Leisure and Travel No Mozart collection would be complete without these performances. ... By Symphony No. By common consent, Mitsuko Uchida is among the leading Mozart pianists of today, and her recorded series of the piano sonatas won critical acclaim as it appeared and finally Gramophone Awards in 1989 and 1991. Listen to extracts from each of the recordings in our 'Mozart: Great Recordings' playlist on Apple Music. The Sunday Times Best Classical Record of 2008. 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. The Danish National Choir is disciplined and resonant; the prominent brass during the tumultuous “Qual nuovo terrore” is thrilling and the entire scene culminating in “Oh voto tremendo” is hair-raising. One factor strikes immediately: there is not a whiff of bygone reverential, even obsequious attitudes to Mozart that still cast faint shadows among some pianists. Count and Countess are distinguished and memorable, and I should say there’s not a member of the company (down to the well individualised servants) who does not contribute worthily. 25 is a terse and taut performance in the best classical tradition. In the solo concertos, Carmignola is recorded with varying but small changes of volume. 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. 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. 29; 33), Waalse Kerk, Amsterdam WARNER APEX 2564 61430 2 [74.56] Advertising on Musicweb: Donate and keep us afloat . They are on top form here, as is Perahia, and the finesse of detail is breathtaking. When Papageno checks Pamina’s identity on the basis of her portrait, the fortepiano duly paraphrases the opening of Tamino’s Portrait aria. You may recall a blog post from last year showing Diana Damrau performing the famous Queen of the Night aria from that filmed performance (view it here, if you can't remember). The BBC Music Magazine awards have given Charles Mackerras disc of the year for his 39th Symphony - … 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. Likewise using a modern copy of an Anton Walter fortepiano, Brautigam favours rather fleeter tempi, and a more direct style of phrasing, than Robert Levin on his fine L’Oiseau Lyre recording with Christopher Hogwood (11/96 – nla). Published on January 25, 2020 Listen, for example, to Mozart’s miraculous counterpoint at ‘Te decet hymnus’ in the Introit or Süssmayr’s rather more clumsy imitation in the ‘Recordare’, and hear how refreshingly the air circulates around these potentially stifling textures. If you're new to classical music, the 10 albums I've listed below are some of my favorite Mozart recordings and songs. Fritsch follows this up with two superb concert arias. Wolfgang Amadeus MOZART (1756-1791) Symphony No. Both Despina and Alfonso are played traditionally and with notable brio by Garmendia and Rivenq. The mellowness and sensitivity of Britten's performances are matched by the warmth of the Decca recording, which ably reproduces the Snape sound. I experienced comparable delight listening to this beautifully recorded performance from Ronald Brautigam and the responsive Cologne period band. The fractional hiatus between left and right underpins the harmony in the first and third bars; and a similar hiatus in the D major section (2'25") lends added expression to its contrasting calmness. Jonathan Kent follows up his superb Fairy Queen with a gripping account of what some people consider to be Mozart’s “problem opera”. 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. Bezuidenhout seems to piggyback lesser works (variations) on to major ones (sonatas) by juxtaposing them together, paired according to similar chronology, revealing moments of synchronicity as well as dramatic leaps in Mozart’s evolution, such as on Vol 7 when the 1773 Six Variations on ‘Mio caro Adone’ in G major, K180, are followed, in 1774, by the gargantuan theme-and-variations final movement of the Piano Sonata in D major, K284, showing Mozart working with an invention and rigour that almost sound like another composer. All repeats are made‚ including those on the Minuet’s da capo in K499. 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. Her tone sometimes has a roughish edge to it, which rather impairs the Mask trio, and that may be because the role lies a little high for a voice poised between mezzo and soprano. This new recording from Japan, which joins Suzuki’s scholarly and startling Requiem, is fully worthy to join them. In the context of his production Kent rarely puts a foot wrong. ‘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. He left us this supreme Mozartian testament which may be approached by others but rarely, if ever, equalled, for his was uniquely inspirational music-making, with an innocent-like quality to make it the more endearing. The Symphony No. 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). 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. 15, No. 25, 32 and 41 NA 0113. 25 is a terse and taut performance in the best … Even Despina – who I usually find an irritant – is irresistible here, a saucy minx determined to liberate Così’s sisters. Mozart: The Great Piano Concertos, Vol. He can be a vicious thug – no gentlemanly fencing for him, he smashes the Commendatore’s face with a brick – and of course he can turn on the charm. Ignore the odd insignificant pianistic smudge, because keyboard prowess is formidable. The rare example of a Mozartian polonaise in K252 goes with a jaunty swagger (other performances I’ve heard are rather more decorous), while the lusty contredanse finales exude an impish glee. It has been very lucky on disc, and besides this delightful set there have been several other memorable recordings. Numi pieta” has flawless spatial differentation between the groups of men. There are a few little oddities in the Italian pronunciation.