The first-movement tempo is on the leisurely side, giving him plenty of opportunity for refined and subtle moulding of the lines. By and large, Christie steers a sensible course between Gardiner’s over-brisk performance and Hogwood’s rather relaxed effort. Richard Lewis’s harpsichord accompaniment in recitatives is astute, even if some might quibble that the keyboard continuo ought to be a fortepiano. All of the recordings below are truly outstanding and offer perfect departure points for new voyages of discovery. Her Susanna is coquettish, with rolled Rs in ‘dolce susurro’ making my heart skip a beat. The recapitulation returns finally to the solace of the first subject. Secondly, in the last Act he places Susanna's aria before, instead of after, Figaro's. … The glorious tone and the richly lyrical phrasing of every note from Brain himself is life-enhancing in its radiant warmth. 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.
I love how Mozart somehow thought he had written an "easy" sonata with K. 576. 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). Reprint of the Breitkopf & Härtel edition.
There is no shortage of recordings to compare this new one with. But then, when what she does give us is so much, why worry too much about what she doesn’t?
The partnership between him and Allen has become intuitive through the experience of the Glyndebourne run, and is much appreciated. Click on Image to see Sheet Music Mozart Piano Sonatas. Eva Badura-Skoda and Paul Badura-Skoda, Interpreting Mozart. It far surpasses those in Haydn’s and C.P.E. 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. David Threasher (May 2014), Margaret Price, Trudeliese Schmidt, Francisco Araiza, Theo Adam; Staatskapelle Dresden / Peter Schreier. THIRD MOVEMENT A scintillating virtuoso Presto concludes this Sonata. At the outset, the theme of the first movement introduces a charming dualism between sixteenth triplets and 32nd notes. When Mozart later shortened this eight-movement work to a five-movement “symphony”, he enhanced the orchestration with cellos and drums.
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.
I prefer Barenreiter the most in general for Mozart. 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.
Nevertheless, their skilled dovetailing and intelligent use of tone colour speak of symbiosis. ', Read more on Prokofiev and discover the essential recordings, To find out more about subscribing to Gramophone, the world's most influential classical music magazine, please visit: gramophone.co.uk/subscribe. The silvery clearness of the sonority, the nuances of registers, the subtlety of the dynamic gradation and above all the sweet noble tones of the middle register remain truly unequaled. Suggested viewing on YouTube: Lili Kraus, movements 1–3. Most of his minor compositions return to the spirit of the opening, as they do here. For technical skill Klien seems to be a master... By Boldertism in forum Classical Music Discussion, By apple in forum Classical Music Discussion, By realdealblues in forum Recorded Music and Publications, By Ostinato in forum Keyboard Instruments, All times are GMT +1. Regretfully, I have to note that this volume completes Blackshaw’s survey of the sonatas. With Goode, the music couldn’t be any other way, not at this moment. Those who specially relish a Karajan or a Solti will hardly recognise the work, with its strongly wind-biased orchestral balance: you simply do not hear the violins as the ‘main line’ of the music. This is the work which made the deepest impression on Mozart’s direct contemporaries and successors, especially on the young Beethoven. 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. Here is a sample of the Henle Mozart 12 variations, 12 Variations on “Ah, vous dirai-je Maman” K. 265 (300e) (Henle Music Folios). The emotional control of the characterisation is masterly and Böhm’s totally idiomatic response to the music is arguably without peer.
I love how Mozart somehow thought he had written an "easy" sonata with K. 576. 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). Reprint of the Breitkopf & Härtel edition.
There is no shortage of recordings to compare this new one with. But then, when what she does give us is so much, why worry too much about what she doesn’t?
The partnership between him and Allen has become intuitive through the experience of the Glyndebourne run, and is much appreciated. Click on Image to see Sheet Music Mozart Piano Sonatas. Eva Badura-Skoda and Paul Badura-Skoda, Interpreting Mozart. It far surpasses those in Haydn’s and C.P.E. 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. David Threasher (May 2014), Margaret Price, Trudeliese Schmidt, Francisco Araiza, Theo Adam; Staatskapelle Dresden / Peter Schreier. THIRD MOVEMENT A scintillating virtuoso Presto concludes this Sonata. At the outset, the theme of the first movement introduces a charming dualism between sixteenth triplets and 32nd notes. When Mozart later shortened this eight-movement work to a five-movement “symphony”, he enhanced the orchestration with cellos and drums.
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.
I prefer Barenreiter the most in general for Mozart. 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.
Nevertheless, their skilled dovetailing and intelligent use of tone colour speak of symbiosis. ', Read more on Prokofiev and discover the essential recordings, To find out more about subscribing to Gramophone, the world's most influential classical music magazine, please visit: gramophone.co.uk/subscribe. The silvery clearness of the sonority, the nuances of registers, the subtlety of the dynamic gradation and above all the sweet noble tones of the middle register remain truly unequaled. Suggested viewing on YouTube: Lili Kraus, movements 1–3. Most of his minor compositions return to the spirit of the opening, as they do here. For technical skill Klien seems to be a master... By Boldertism in forum Classical Music Discussion, By apple in forum Classical Music Discussion, By realdealblues in forum Recorded Music and Publications, By Ostinato in forum Keyboard Instruments, All times are GMT +1. Regretfully, I have to note that this volume completes Blackshaw’s survey of the sonatas. With Goode, the music couldn’t be any other way, not at this moment. Those who specially relish a Karajan or a Solti will hardly recognise the work, with its strongly wind-biased orchestral balance: you simply do not hear the violins as the ‘main line’ of the music. This is the work which made the deepest impression on Mozart’s direct contemporaries and successors, especially on the young Beethoven. 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. Here is a sample of the Henle Mozart 12 variations, 12 Variations on “Ah, vous dirai-je Maman” K. 265 (300e) (Henle Music Folios). The emotional control of the characterisation is masterly and Böhm’s totally idiomatic response to the music is arguably without peer.