This set restores to circulation Bruno Walter's New York Philharmonic versions of the mature Mozart symphonies (35-41). These were recorded in decent mono during the early LP era (1953-1956). Listeners familiar with his stereo versions of these works with the Columbia Symphony (an ad hoc ensemble formed largely for the sake of Walter's Indian Summer recording projects) will note some marked interpretative differences in the earlier recordings. The NYPO provides leaner textures and more alert playing, and Walter's conducting conveys greater vitality, than in the plusher and sometimes too languid Columbia Symphony recordings.
This set restores to circulation Bruno Walter's New York Philharmonic versions of the mature Mozart symphonies (35-41). These were recorded in decent mono during the early LP era (1953-1956). Listeners familiar with his stereo versions of these works with the Columbia Symphony (an ad hoc ensemble formed largely for the sake of Walter's Indian Summer recording projects) will note some marked interpretative differences in the earlier recordings. The NYPO provides leaner textures and more alert playing, and Walter's conducting conveys greater vitality, than in the plusher and sometimes too languid Columbia Symphony recordings.
The first 14 of the 16 symphonies chosen span the years 1771, when Mozart was 15, through to 1773, when he produced in the G minor No. 26, his first out-and-out masterpiece among the symphonies. In addition to the regularly numbered works Tate includes the so-called Symphonies Nos. 48 (adapted from the overture to Ascanio in Alba) and 50 (adapted from the overture to Il sogno di Scipione). Then, almost as an appendix to the rest, come two more adaptations from opera overtures, dating from 1775-6, No. 51 (from La finta giardiniera) and No. 52 (from Il re pastore, with an adaptation of an aria inserted).
The 7th installment of the live concert series "Belle ame'', a project of the Spectrum Sound label and using sound sources provided by the French National Audiovisual Institute, is a 1959 concert performed by the Orchester National Radio de France, conducted by Constantin Silvestri. From the live performance in February, Dvořák's Symphony No. 9 "From the New World", Mozart's Piano Concerto No. 19 with Clara Haskil as soloist, Debussy's "Prelude to the Afternoon of a Faun", and Ravel This is "Bolero''.
All are equal before the work, before the mysteries of a score; this was Claudio Abbados heart-felt conviction. For him, the willingness to be open to one another and to the independent life of musical processes was the only prerequisite for making music. In the live performances documented here for the first time, Abbado could be sure of the devotion of these world-class artists: the LUCERNE FESTIVAL ORCHESTRA, the sopranos Christine Schäfer and Juliane Banse, as well as the actor Bruno Ganz. They shared his credo of listening togetherness (Die ZEIT) that made possible those precious moments of musical truth toward which this great conductor strove throughout his life.
It is true that images have the power to keep a trace of the past. Gottfried von der Goltz and the Freiburger Barockorchestra prove with this recording that music too conceals the secret of the memory deep within. Though rarely played, much less recorded, Mozart’s youth symphonies bear the reminiscence of the child the composer used to be, as well as including the seeds of his future masterpieces.
This Collection of Mozart fetaures some of the leading period-instrument ensembles and spans the oeuvre of Mozart's works. Included excellent readings of the 'Prague' Symphony and the Requiem.