Giuliano Carmignola vn Mozart Orchestra / Claudio Abbado. Argerich sets off with a will in the finale but doesn’t let herself get carried away in the Romanze’s central convulsion, sticking firmly to the tempo of the gentler outer sections. This audio clicking track works with Clarinet Quartet and Clarinet Quintet versio 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. In the more opulently scored K482 (trumpets and drums, oboes replaced by clarinets) I ideally wanted a fuller string tone than the 14 Cologne players can muster. The recording is reasonably well balanced. Anima Eterna’s stunning playing in the tuttis is perfectly balanced with the fluent playing of Immerseel and Yoko Kaneko. The Symphony No. The tragedy is perhaps more restrained in the new version, Tetzlaff’s tone warmer a degree or two than Steinberg’s, though the way he uses vibrato for expressive effect is compelling. You can also hear there the advantage of the right-sized band and choir. In the 'little' G minor he hrings out by the choice of moderate tempi and legato phrasing (listen to how lovingly he shapes the second subject of the finale, for example), the uneasy tension implicit in the two outer movements, without making the music sound aggressive or nervous. Hear them all. A delight from beginning to end. Mozart was an operatic composer, in my opinion, and the real drama of his music comes out best in the 45 symphony box set that Fischer conducted. HMV Choice #1 in Top 10 Symphonies List. The shorter pieces, enterprisingly chosen, set off the great works admirably. The four Salzburg divertimentos for wind sextet of 1776 77 are far slighter. Keith Lewis, the Ottavio, carries on the accomplished line of British Mozartian tenors that runs from Heddle Nash through Richard Lewis to Stuart Burrows. 25 in G minor for Practicing and Recording (COVID-19- Social Distancing ensemble playing with yourself or friends via recording sessions)-count you in and metronome clicking throughout the track. They overflow with vitality, and #25 (the only other symphony Mozart wrote in a minor key other than #40) will just explode on you with its urgency and drama. He argues the case in the notes, but misses two basic points: we know, from the original printed libretto, that the work was first given in its traditional order; and Mozart could not, at the time of writing his score, have intended the revised order (as Alan Tyson has proved). 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). 25 av Mozart; Simfonia núm. Alan Blyth (June 2006), Elisabeth Schwarzkopf sop Brendel, Gieseking pfs London Symphony Orchestra / George Szell. 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. 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.It was supposedly completed in Salzburg on October 5, a mere two days after the completion of his Symphony No. Fritsch does marvels with the text, clearly understanding every word. 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. Whether in its original Sextet incarnation, performed here, or its later Octet version, this is music that both celebrates and, as Mozart surely knew, far transcends the tradition of al fresco Harmoniemusik. For anyone wanting a recording of K482 as near perfection as one is likely to get, this new issue is the obvious answer. Whether it is in the perfectly crafted busy activity of the Allegro con spirito first movement of the Mozart or the introspective and soulful depth of the Schubert, the players find a unanimity of vision. Blackshaw is one of the few who know how to make the music sing and dance without making a song and dance of it. The presence of Dame Joan Sutherland does have its drawbacks as well as its glory. He never puts a foot wrong. It’s very much a Viennese performance, not perhaps as graceful or as effervescent as some but warm, sensuous and alive to the interplay of character. If you want studio perfection, Solti may be preferable, but I very much warmed to the daring of Abbado’s way with the score. Hearing of Abbado’s death as I write these words turns the pleasure of hearing it into something altogether more bittersweet. Get Details. 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