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Mozart : Messe en ut mineur K. 427
Claudio Abbado
Sacred Vocal Music - Released August 23, 1991 | Sony Classical
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Mozart: Messe en ut mineur
Philippe Herreweghe
Masses, Passions, Requiems - Released May 1, 2003 | harmonia mundi
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Mozart
Anne Queffélec
Classical - Released March 1, 2002 | Mirare
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Joker de Crescendo
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Anyone For Mozart, Bach, Handel, Vivaldi?
The Swingle Singers
Jazz - Released January 1, 1964 | Universal Music Division Decca Records France
This 16-track, 63-minute CD is compiled from the best material off of the Swingle Singers' classic mid-'60s LPs. The sound is excellent (and offers a serious edge over the original LPs which, unlike later Philips classical releases, were pressed here in America and were usually fairly noisy), and the repertory is chosen perfectly. Among the highlights is the group's version of "Eine Kleine Nachtmusik," featuring their version of the closing "Rondo," which became the closing theme of The Clay Cole Show (a cooler version of American Bandstand, out of New York) for at least a year after its 1965 release. Among the singers featured here is soprano Christianne LeGrand, who subsequently sang on Procol Harum's Grand Hotel album.© TiVo
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Mozart : Grande Messe en ut mineur
Ferenc Fricsay
Sacred Vocal Music - Released January 8, 2010 | Tahra
Booklet
Tahra's Mozart: Grosse Messe consists of a glorious stereo recording made of Mozart's "Great" Mass in C minor featuring conductor Ferenc Fricsay leading the Berlin Radio Symphony Orchestra with the Choeurs de la Cathédrale Ste. Hedwig and soloists led by Maria Stader and Ernst Haefliger in Berlin on September 29, 1959. It was recorded the day before a very famous and long established Deutsche Grammophon catalog item of the Great Mass was made, with the same conductor, soloists, and forces, so one might wonder "why bother to put this out?" It runs within in a minute of the same duration of the studio recording that followed it! Because this live recording -- like the DG studio recording -- is excellent; Fricsay was an outstanding Mozart conductor and used essentially the same usual suspects that peopled Karl Richter's Bach recordings. Tahra's historical recording is remarkably stable and full, the performance is moving, dynamic, and Stader is right on the money in terms of the soprano solo part; she is arrestingly intense in the opening "Kyrie" and remains that way for most of the disc. There is an exception in that Stader is a little unsteady in the first section of "Et incarnates est," but for that matter Fricsay's band seems to have lost its bearings at the start of this movement, with the vagaries of live recording, no doubt, at foot. But overall this is a powerful recording that commands one's attention throughout, and listeners will be astonished at the range, gravity, and clarity of the recording quality, which seems hardly possible for a recording more than five decades old.
© TiVo
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J'écoute Mozart et Haydn avec mon papa
Iddo Bar-Shaï
Classical - Released December 3, 2012 | Mirare
Booklet
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Mozart: Piano Four hands (Édition 5.1)
Guillaume Bellom
Classical - Released April 7, 2014 | Aparté
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W.A. Mozart, Messe en Ut Majeur KV 337, Sonata all'epistola KV 336, Davidde penitente oratorio KV 469 - AMS65
Orchestre Camerata Academica du Mozarteum de Salzbourg
Classical - Released January 1, 1970 | André Charlin
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Mozart : Berceuses pour petite nuit (Réadaptation en berceuses des plus beaux airs de Mozart)
Le Marchand de Sable
Children - Released October 12, 2012 | Deva Jeunesse
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Sonate pour Piano No. 16 en Do Majeur, K. 545: I. Allegro
Ut Re Mi
Classical - Released October 28, 2022 | Ut Re Mi
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Grosse Messe, Missa En Do Menor K 247
Wolfgang Amadeus Mozart
Classical - Released July 8, 1993 | Audiovisuals de Sarrià
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Sonate pour Piano No. 16 en Do Majeur, K. 545: I. Allegro
Ut Re Mi
Classical - Released May 2, 2022 | Ut Re Mi
Palestrina, Vol. 9
The Sixteen
Classical - Released June 2, 2023 | Coro
Download not available
The large Palestrina series undertaken by The Sixteen and its director, Harry Christophers, is useful; few of the pieces are receiving world premieres, but a systematic exploration of a substantial body of Palestrina's music is not so common. He tends to be known for a relatively small number of hits. Moreover, it is heartening somehow; The Sixteen have undertaken increasingly adventurous programming, but here, they return to their roots in 16th century sacred polyphony. Here, The Sixteen are actually "The Twenty" for much of the program. The performances are all to a high standard, and the sonic environment of St. Augustine's Church, Kilburn, London, is ideal, which leaves the music itself. It is a bit atypical for Palestrina, which might not commend the album to series newcomers, but which may well fascinate those deeply engaged with Palestrina. The opening work, and really the centerpiece, is the Missa ut re mi fa sol la, otherwise known as the Hexachord Mass. This is a cantus firmus mass, an old-fashioned form by Palestrina's time, and the cantus firmus, a six-note rising scale, was one cultivated by many other composers as an exercise or a kind of tradition. It is music in which the "bones" are unusually exposed for Palestrina. Sample the Benedictus for an idea. There are also motets, many of them on the subjects of St. John the Baptist and St. John the Evangelist, and there is a lovely trio of settings from the Song of Songs. Beautifully executed as usual, this is a release that exposes new sides of Palestrina's music.© James Manheim /TiVo
The large Palestrina series undertaken by The Sixteen and its director, Harry Christophers, is useful; few of the pieces are receiving world premieres, but a systematic exploration of a substantial body of Palestrina's music is not so common. He tends to be known for a relatively small number of hits. Moreover, it is heartening somehow; The Sixteen have undertaken increasingly adventurous programming, but here, they return to their roots in 16th century sacred polyphony. Here, The Sixteen are actually "The Twenty" for much of the program. The performances are all to a high standard, and the sonic environment of St. Augustine's Church, Kilburn, London, is ideal, which leaves the music itself. It is a bit atypical for Palestrina, which might not commend the album to series newcomers, but which may well fascinate those deeply engaged with Palestrina. The opening work, and really the centerpiece, is the Missa ut re mi fa sol la, otherwise known as the Hexachord Mass. This is a cantus firmus mass, an old-fashioned form by Palestrina's time, and the cantus firmus, a six-note rising scale, was one cultivated by many other composers as an exercise or a kind of tradition. It is music in which the "bones" are unusually exposed for Palestrina. Sample the Benedictus for an idea. There are also motets, many of them on the subjects of St. John the Baptist and St. John the Evangelist, and there is a lovely trio of settings from the Song of Songs. Beautifully executed as usual, this is a release that exposes new sides of Palestrina's music.© James Manheim /TiVo
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Missa Maria zart
Cappella Pratensis
Classical - Released March 20, 2023 | Cappella Pratensis
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Bach : Contemplation
Anne Queffélec
Classical - Released January 8, 2009 | Mirare
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Scarlatti: Ombre et lumière
Anne Queffélec
Classical - Released January 12, 2015 | Mirare
Hi-Res
Booklet
Distinctions
Diapason d'or
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Joseph Haydn : Cello Concertos
Freiburger Barockorchester
Cello Concertos - Released March 27, 2003 | harmonia mundi
Booklet
Distinctions
Choc de Classica
This admirable Harmonia Mundi release presents Franz Josef Haydn's two cello concertos and the Cello Concerto in G minor by Georg Matthias Monn with the luster of period instruments; refined, idiomatic playing; and exceptional sound quality, with full resonance; and cellist Jean-Guihan Queyras and the Freiburg Baroque Orchestra, directed by Petra Müllejans, render these works with exquisite details and emotional depth. In a real sense, their performances are acts of rediscovery, for Haydn's cello concertos have become routine fare from too many modern renditions, and Monn's piece is unfamiliar from too few performances. Indeed, all three concertos have suffered the vagaries of preservation and interpretation. Haydn's Cello Concerto No. 1 in C major was once considered lost until its discovery in 1961; the Cello Concerto No. 2 in D major suffered false attribution and its authorship was debated until the appearance of the manuscript in 1954; and Monn's concerto survived only in an arrangement for harpsichord and strings until Arnold Schoenberg edited it in 1912. To set the record straight, this disc presents the concertos intelligently refurbished, with appropriate eighteenth century style and color. Through their insightful scholarship and sensitive performances, Queyras and Müllejans have produced a fine alternative to the less authentic mainstream recordings.© TiVo
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La Mascarade - Music For Solo Baroque Guitar & Theorbo
Rolf Lislevand
Classical - Released May 20, 2016 | ECM New Series
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5 Sterne Fono Forum Klassik
The Norwegian early music lutenist and guitarist Rolf Lislevand has pooh-poohed the idea of historical authenticity, but it may be that the lovely program here would have appealed to listeners in the court of Louis XIV, for which the music was intended. Lislevand examines pieces by a pair of late 17th century composers, Robert de Visée (a rondeau by whom, plus some rather murky booklet ruminations by Lislevand, give the album its title) and the sparsely heard Francesco Corbetta, choosing slow, quasi-improvisatory pieces and dances -- preludes, chaconnes, sarabandes, passacaglias -- from each, and adding some improvised introductions. The music alternates between a very deep-voiced, many-stringed theorbo and a small, crystalline Baroque guitar. The result is an extremely reflective concert, dividing up a common stock of musical ideas in several subtle ways, that, as Lislevand points out, would have been played for a small group of connoisseurs in its own time. ECM producer Manfred Eicher is nonpareil as a recorder of music like this, but here, working in the Auditorio Stelio Molo in Lugano, he outdoes himself, evoking the "musica callada," the music that has fallen silent, of Mompou. He draws the listener into a rich communion with a remarkable player.© TiVo
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Poulenc : Pièces pour Piano
Alexandre Tharaud
Classical - Released October 15, 1996 | Arion
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Diapason d'or de l'année -
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Grand Prix de l'Académie Charles Cros
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Fauré: Intégrale de l’oeuvre pour piano, Vol 3
Jean-Claude Pennetier
Solo Piano - Released October 1, 2015 | Mirare
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Booklet
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5 de Diapason
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