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Mozart: Sonatas for Piano & Violin
Renaud Capuçon
Classical - Released June 23, 2023 | Deutsche Grammophon (DG)
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There are various complete recordings of Mozart's sonatas for piano and violin, most of them leaving off the juvenilia or relegating them to a separate volume (here they are omitted). This one by violinist Renaud Capuçon and keyboardist Kit Armstrong, playing modern instruments, holds the listener's interest unusually strongly. There are several reasons for this. One is the easy rapport between the two players, responding quickly to slight expressive moves or alterations in the tempo by one player or the other. They capture the rapidly developing role of the violin over the course of the set as it is transformed from an accompanimental instrument to a full partner in the dialogue. A second plus is the inclusion of two variation sets, the 12 Variations on "La bergère Celimène," K. 359, and the Six Variations on "Hélas, j'ai perdu mon amant," K. 360. These are not often heard, and quite opposite to what one might expect from their lightweight themes, they are substantial works. The role of the violin here, too, is key; although the piano is still the dominant partner, the violin was ready and available as a sound that would vary the texture, and Mozart exploited it to the hilt. Other attractions include the variety of Capuçon's playing within a fairly circumscribed context and an excellent feel for the dry language of the later sonatas, with their counterpoint and daringly irregular phrase shapes. A major entry in the Mozart discography, which landed on classical best-seller charts in the summer of 2023.
© James Manheim /TiVo
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Mozart: Symphonies Nos.35 "Haffner", 36 "Linzer", 38 "Prager", 39, 40, 41 "Jupiter"
Karl Böhm
Symphonies - Released January 1, 1975 | Deutsche Grammophon (DG)
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Karl Böhm's set of the last Mozart symphonies, recorded for Deutsche Grammophon between 1959 and 1966, rank among the greatest performances of these extraordinary works. The Berlin Philharmonic brings genuine warmth and vitality to the symphonies, yet maintains a poise throughout, which, in terms of balance and measured phrasing, is decidedly Classical. Böhm's rendition of the Symphony No. 35 "Haffner" is exciting in the outer movements, but steadily paced in the Andante and the stately Menuetto. The Symphony No. 36 "Linzer" is admirable for its clarity of form and sturdiness, though the performance is briskly paced to keep the music from seeming rigidly architectural. The Symphony No. 38 "Prager" glows with amorous feeling and humor, and Mozart's orchestral palette is at its most colorful in the Andante. After an intensely dramatic introduction, the Symphony No. 39 proceeds in a relaxed, gemütlich manner, and the slower tempi allow the winds to be fully resonant. In the Symphony No. 40, tenderness and pathos are emphasized over anxiety and drama, and Böhm's dynamics are carefully gauged to make this distinction clear. The Symphony No. 41 "Jupiter" is grand and energetic, and the Berlin Philharmonic's performance of the miraculous finale is this set's crowning achievement.© TiVo
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Mozart: Symphonies Nos. 38-41
Scottish Chamber Orchestra
Classical - Released February 1, 2008 | Linn Records
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Charles Mackerras' mid-'80s Telarc recordings of Mozart symphonies with the Prague Chamber Orchestra were smart, stylish, and notable for their rhythmic drive and formal verve. Being 20 years older, and thus over the age of 80, clearly hasn't slowed Mackerras as heard in these 2008 Linn recordings with the Scottish Chamber Orchestra. They have the same drive and verve as his earlier work, but his vision now seems clearer and more radiant than before. The Scottish musicians play with a tight but relaxed ensemble, a bright but subtle tone, and an obvious affection for the man leading them; they seem to be singing more than playing the scores. With them as his instrument, Mackerras' conducting is more lyrical than before, bringing out inner lines and transforming them into true themes, but without losing any of his earlier propensity for dramatic urgency. This is fortunate because Mackerras has opted to take both the exposition and the development repeats, and so most movements now last 30 to 40 percent longer than they do on other recordings. But such is the brilliance of the orchestra's ensemble and the buoyancy of the director's beat that even the developments seem more compelling the second time around. Anyone interested in Mozart's late symphonies should by all means here this two-disc set. Linn's HDCD sound is translucent.
© TiVo
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Mozart : Symphonies Nos. 39, 40, 41
Sir Simon Rattle
Classical - Released April 28, 2017 | Berlin Philharmonic Orchestra
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Mozart: Piano Concertos Nos. 20 & 21
Friedrich Gulda
Classical - Released January 1, 1975 | Deutsche Grammophon (DG)
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Beethoven: Complete Sonatas and Variations for Cello and Piano
Gary Hoffman
Chamber Music - Released September 29, 2023 | La Dolce Volta
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Mozart: The Last Six Symphonies
Bruno Walter
Classical - Released November 1, 2019 | Sony Classical
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It is obvious that the wave of baroque music and its string of splendid "historically accurate" performances has completely changed our listening habits. But this is no reason to vilify the records that once characterized their era. When Bruno Walter recorded Mozart's last six symphonies at the very end of his life, with an orchestra formed in California for the sole purpose of Columbia with musicians largely from Los Angeles, he benefited from the latest advances in stereophonic technology and was given time to rehearse everything at his own pace. At the time, Mozart was played with a full orchestra and a legato style that we no longer use. But these recordings are timeless because they reflect a style and a time when music was lived with an almost religious approach, tinged with a humanism further reinforced by the tragedy of the Second World War, after which the world was rebuilt through music. Bruno Walter's quasi-metaphysical vision is that of a great European with a love of culture and civilization: his Mozart is exceptionally fraternal. © François Hudry/Qobuz
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Mozart y Mambo: La Bella Cubana
Sarah Willis
Classical - Released September 8, 2023 | Alpha Classics
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This is the third and final release in a series of recordings made by Berlin Philharmonic hornist Sarah Willis in Havana, Cuba, mostly during the COVID-19 pandemic. All the albums have, as the title suggests, fused Mozart with Cuban music, and the graphics are festooned with images of Willis riding in some of the classic 1950s American cars that have been preserved in Havana's rust-free environment (here, a 1955 Buick Roadmaster, perhaps). As before, Willis is backed by the Havana Lyceum Orchestra under conductor José Antonio Méndez Padrón, a youthful group with contagious enthusiasm, and in the Cuban jazz pieces by her own Sarahbanda. All the albums are worthwhile, but this one may be the choice for those wanting to acquire one; the Mozartian and Cuban elements are the most effectively fused here. The three Mozart horn concertos are distributed across the three albums, and here, the finale is matched inventively to a jazz treatment of the same material in Rondo alla Rumba, with the repeated notes of the concerto's solo part forming the basis for the improvisation. Willis is an adept jazz player, and one senses that the project brought out her talents in this area. She is joined on the Mozart Sinfonia Concertante in B flat major, K. 297b (a disputed work but probably authentic to some degree), by three of her Berlin Philharmonic colleagues. A rousing treatment of the old song Guantanamera ends the trilogy in a rousing mood of celebration. The other releases in the series have sold well, and there is no reason to think that this one will not.
© James Manheim /TiVo
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Mozart: Piano Concertos, Vol. 1
Jean-Efflam Bavouzet
Classical - Released September 1, 2016 | Chandos
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Mozart: Piano Concertos, Vol. 2
Jean-Efflam Bavouzet
Concertos - Released September 1, 2017 | Chandos
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Mozart: Violin Conc. No.5 - Vieuxtemps: Violin Conc. No.4
Hilary Hahn
Classical - Released February 9, 2014 | Deutsche Grammophon (DG)
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Violinist Hilary Hahn was one of a crop of teen violin prodigies who emerged in the late 1990s. Thirty five years old when this album appeared in 2015, she seems to have made the transition to maturity better than any of the others. The rather odd pairing of Mozart's Violin Concerto No. 5 in A major, K. 219, with the little-known Violin Concerto No. 4 in D minor, Op. 31, of Henri Vieuxtemps is explained by Hahn as personal: she learned both works early in her education. As it happens, she welds the two works together into a program that might have been heard in Paris in 1880, and her playing has the same distinction. Hahn turns the Mozart into a kind of curtain raiser, with the gentle introduction of the violin soloist in the first movement used to display the breathtaking purity of tone of this musician who is the last student of Ysaÿe and carries a deep sense of tradition in her playing. The Mozart hints at wonders to come, and indeed they are here: the four-movement Vieuxtemps concerto is filled with incredible virtuoso challenges married to a quasi-symphonic form. The way the first movement sets up a strong thematic contrast between an almost pastoral opening and a stormier second subject group, and then lets the violinist transcend this contrast, is superb; it would not work without an absolutely top-notch player, and that is what Hahn has become. She gets able, alert support from the Kammerphilharmonie Bremen under Paavo Järvi, and the only thing that's just adequate is the sound: the program wasn't recorded all at the same time or place (although Hahn has clearly thought it through as an entity), and the splice is audible.© TiVo
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Mozart Momentum - 1785
Leif Ove Andsnes
Classical - Released May 28, 2021 | Sony Classical
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Booklet
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Gramophone: Recording of the Month
Thematic albums have become widespread, and often enjoy varying degrees of success. The pianist Leif Ove Andsnes, long known for his seriousness and exceptional musical talent, has chosen two crucial years of Mozart's output as the programme for this album and the one that is set to follow it. In 1785, Mozart was at the height of his genius. He had just been initiated into Freemasonry, which was then in vogue in Vienna; he had finished the 6 Quartets dedicated to his friend Haydn; he had begun composing the Marriage of Figaro and gave numerous "Academies", playing his own works on the piano. These productive times form the basis of Leif Ove Andsnes's project, which brings together three contemporary and very different concertos, from the dramatic D minor (n° 20, K. 466), to the luminous C major (n° 21, K. 467), and the most original (and longest at 23 minutes), the powerful E flat major (n° 22, K. 482). The prodigious year of 1785 also saw the creation of the Fantasia in C minor which seems to recall the teachings of the fickle Carl Philipp Emanuel Bach, the Masonic Funeral Music in the same dark tone and the Quartet with piano in G minor, another key in which Mozart wrote some masterpieces. By turns a pianist, a chamber musician and a conductor, the distinguished musician Leif Ove Andsnes offers up an album that is as historically coherent as it is musically successful. © François Hudry/Qobuz
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Mozart: The Beginning & The End
Il Pomo D'oro
Symphonies - Released February 3, 2023 | Aparté
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Booklet
This recording, made in June 2022, lays the first brick of a vast project; a new, complete set of Mozart's 41 symphonies by the ensemble Il Pomo d'Oro, conducted by Maxim Emelyanychev for the Aparté label. The title of the album, The Beginning and the End, clearly describes the ambitions of the undertaking, which will naturally take several years to realise.Mozart's Symphony No. 1, in E flat major, K. 16, composed during a trip to London at the age of... eight, is a touching mixture of extraordinary precocity and the awkwardness one would expect from such a young composer, with a rather simplistic harmonic march in the first movement, redundant and repetitive in an andante stretching over fifty tirelessly repeated bars.The contrast between this first attempt and the absolute masterpiece that is the Jupiter Symphony is a perfect showcase of the dazzling breadth of Mozart's genius. It is just about softened by Maxim Emelyanychev’s fine performance of Concerto No. 23 in A major, played on a replica of a Conrad Graf fortepiano from 1823. Nicolas Bartholomée, the recording director, gives a mellow character and a very natural depth to the recording through Our-Lady of Lebanon's grand acoustics, which has been used for many years as a recording studio. © François Hudry/Qobuz
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Mozart: Piano Concertos Nos. 18 KV 456 & 21 KV 467
Howard Griffiths
Classical - Released February 23, 2024 | Alpha Classics
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This release is part of a series from the Alpha label entitled "Next Generation Mozart Soloists," and from the evidence here, pianist Jonathan Fournel will rank high among this generation. This is his sophomore release on Alpha, after an album of Brahms sonatas in 2021, and while the world may not seem to have been clamoring for new performances of these two perennially popular Mozart piano concertos, especially not for one on modern instruments, these have what it takes to stand out from the crowd. In the Piano Concerto No. 21 in C major, K. 467, Fournel plays cadenzas by Dinu Lipatti, and indeed, his playing may remind some of that tragically short-lived figure from the middle of the last century. It is liquid and lyrical. In the famed slow movement of the work, Fournel achieves a level of restrained, ethereal melody that few can match. In the Piano Concerto No. 18 in B flat major, K. 456, Fournel proves equally adept in the more expansive, complex type of Mozart concerto structure and shows that his carefully cultivated smooth tone does not come at the expense of close attention to small details that are, in the usual Mozartian fashion, of great structural significance. The Mozarteum Orchestra under veteran conductor Howard Griffiths, provides perfect, circumspect support, and a small hall at the Mozarteum in Salzburg offers an ideal ambiance. An exceptional Mozart recording showing that the traditional approach is still more than viable.© James Manheim /TiVo
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Mozart: Piano Concertos K. 271 & 456
Kristian Bezuidenhout
Concertos - Released September 2, 2022 | harmonia mundi
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With this latest addition to the complete Mozart keyboard concertos, music lovers finally have a historically informed interpretation - one that goes beyond mere historical curiosity. Born in South Africa and now an Australian, Kristian Bezuidenhout is a specialist in historical musical practice, but above all, he is a musician who finds his truest form of expression in the pianoforte.Playing on a replica of a Viennese Walter & Sohn instrument from 1805 (which was built identically two hundred years later by Paul McNulty), Kristian Bezuidenhout extracts an almost carnal sound from the keys, with song-like phrasing and attacks that render the long Mozartian phrases perfectly legible. This sparkling interpretation with lively tempos would undoubtedly have pleased Mozart himself, who always wanted his music to be played as quickly as possible. A special mention must go to the exceptional instrumental quality of the Freiburger Barockorchester, in particular, their exquisite wind and string sections.This new album is devoted to the famous Concerto No. 9 in E flat major (also known as “Jeunehomme” or “Jenamy concerto”). It is a profoundly original work which contains an already-romantic 'Andantino' and a French-style 'Finale' (in which a nostalgic minuet suddenly interrupts the vivacity). Concerto No. 18 in B flat major—composed for a blind young virtuoso who was to play it in Paris—is more classical in style and features a slow movement, 'Andante un poco sostenuto', written in a minor key in much the same way as Concerto No. 9. As is often the case with Mozart, good humour is tinged with a modest and pervasive melancholy that is undoubtedly present if you know how to read between the lines. © François Hudry/Qobuz
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Mozart : String Quartets K.387, K.421 - Divertimento K.138
Quatuor Van Kuijk
Classical - Released October 11, 2019 | Alpha Classics
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Booklet
After a first album devoted to Mozart quartets (awarded a ‘Choc de Classica’ and a ‘Diapason Découverte’), a second to French music (Debussy, Ravel and Chausson) and a third to two quartets by Schubert, Nos. 10 and 14 (the mythical "Death and the Maiden"), the group founded by Nicolas Van Kuijk returns to its first love by recording more Mozart. This recording is the second part of an eventual triptych that will contain the six string quartets dedicated to Haydn: No. 14 in G major, K.387, the first of them, was composed in 1782, when Mozart had just arrived on the Viennese musical scene; No. 15 in D minor K421, the second, is the only one in the minor mode and was completed in 1783 while his wife Constanze was in labour – she related that the rising intervals of the second movement recalled her cries from the room next door as he composed. © Alpha Classics/Outhere
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Schubert : The "Great" C Major Symphony, D.944
Orchestra Mozart
Classical - Released May 29, 2015 | Deutsche Grammophon (DG)
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Booklet
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5 Sterne Fono Forum Klassik
This 2015 Deutsche Grammophon release of Franz Schubert's Symphony No. 9 in C major, "The Great," is actually the product of four concert performances from September 2011, two at the Bologna Auditorium Manzoni and two at the Bolzano Auditorium, so it is a live recording that has been skillfully edited. Bearing in mind Claudio Abbado's strong working relationship with Orchestra Mozart, this is likely the interpretation he had in mind, barring any mishaps in the performances that have been omitted. That said, it is a fairly safe and uncontroversial reading that doesn't differ much from most mainstream recordings, and the playing -- such as we hear -- is secure and polished, if not especially inspired or deeply felt. Because this is one of the last documents of Abbado's conducting career and a record of his rapport with an orchestra he founded, there is much to value from a historical perspective. However, because there are no sparks of electricity or special expressive moments, this recording of "The Great" will interest most of Abbado's fans but fewer Schubertians.© TiVo
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Mozart & Schubert : Quartets Nos. 15
Quatuor Voce
Classical - Released September 6, 2019 | Alpha Classics
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Booklet
The Quatuor Voce is fifteen years old! To celebrate this anniversary, the four musicians present an album focusing on two composers, Mozart and Schubert, but only one number: 15! This milestone, an age imbued with both ardour and maturity, is therefore embodied in the respective fifteenth quartets of these two geniuses of the eighteenth and nineteenth centuries. Mozart composed his Quartet No. 15 in 1783, as the second in the set of six "Quartets dedicated to Haydn". Schubert wrote his Quartet No. 15, his last work in the genre, in 1826. He composed it in only ten days but did not live to hear its first performance, which took place twenty-three years after his death. © Alpha Classics
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Mozart: Piano Concerto K.595; Concerto for 2 Pianos K.365 / Schubert: Fantasy D940
Elena Gilels
Classical - Released January 1, 1974 | Deutsche Grammophon (DG)
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Mozart: Piano Concertos Nos.17 & 21
Maria João Pires
Classical - Released January 1, 1995 | Deutsche Grammophon (DG)
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