More Than Mozart

Mitsuko Uchida, Christian Tetzlaff, Ensemble InterContemporain, Pierre Boulez - MOZART 13 BERG (2008)

Wolfgang Amadeus Mozart: Serenade In B Flat, K.361 "Gran partita"
Alban Berg: Chamber Concerto For Piano And Violin With 13 Wind Instruments
Mitsuko Uchida (Piano), Christian Tetzlaff (Violin)
Ensemble InterContemporain; Pierre Boulez, conductor

EAC | FLAC | Tracks (Cue&Log) ~ 300 Mb | Mp3 (CBR320) ~ 198 Mb | Scans included
Genre: Classical | Label: Decca | # 478 0316 DH | Time: 01:20:15

The greatest of Mozart's wind serenades and the toughest of Alban Berg's major works might seem an unlikely pairing, but in an interview included with the sleeve notes for this release, Pierre Boulez points up their similarities. Both works are scored for an ensemble of 13 wind instruments (with solo violin and piano as well in the Berg) and both include large-scale variations as one of their movements - and Boulez makes the comparisons plausible enough in these lucid performances. It's rare to hear him conducting Mozart, too, and if the performance is a little brisker and more strait-laced than ideal, the EIC's phrasing is a model of clarity and good taste. It's the performance of the Berg, though, that makes this such an important issue; both soloists, Mitsuko Uchida and Christian Tetzlaff, are perfectly attuned to Boulez's approach - they have given a number of performances of the Chamber Concerto before - and the combination of accuracy and textural clarity with the highly wrought expressiveness that is the essence of Berg's music is perfectly caught.
Lars Vogt, Christian Tetzlaff - Wolfgang Amadeus Mozart: Sonatas for Piano and Violin (2012)

Lars Vogt, Christian Tetzlaff - Mozart: Sonatas for Piano and Violin (2012)
EAC | FLAC | Image (Cue&Log) ~ 240 Mb | Mp3 (CBR320) ~ 152 Mb | Artwork included
Genre: Classical | Label: Ondine | # ODE1204-2 | Time: 01:05:41

Ondine is pleased to announce a long-term recording collaboration with German violinist Christian Tetzlaff, internationally recognized as one of the leading soloists of his generation. The selection of these sonatas for piano and violin by Wolfgang Amadeus Mozart demonstrate distinctly the composer's ingeniousness and show a wide range and strong ambiguity of emotions.
John Eliot Gardiner, The English Baroque Soloists - Wolfgang Amadeus Mozart: La clemenza di Tito (1991)

John Eliot Gardiner, The English Baroque Soloists - Wolfgang Amadeus Mozart: La clemenza di Tito (1991)
EAC | FLAC | Image (Cue & Log) ~ 471 Mb | Total time: 58:20+59:44 | Scans included
Classical | Label: Archiv Produktion | # 431 806-2 | Recorded: 1990

Listening to this work so soon after hearing Zauberflote one is amazed anew that Mozart could write two such totally contrasted pieces within months of each other. Here, in the composer's last opera seria, we are in another world, one of formality tempered by the deep emotions engendered by love and jealousy. Instead of birdcatchers and Masonic rights we are dealing with historic figures in a supposedly historic context with down-to-earth feelings. For each Mozart finds precisely the appropriate music.
Dunedin Consort, Soloists, John Butt - Wolfgang Amadeus Mozart: Requiem, Reconstruction of First Performance (2014)

Wolfgang Amadeus Mozart: Requiem, Reconstruction of First Performance (2014)
Joanne Lunn, soprano; Rowan Hellier, alto; Thomas Hobbs, tenor; Matthew Brook, bass
Dunedin Consort, conducted by John Butt

EAC | FLAC | Image (Cue&Log) ~ 307 Mb | Mp3 (CBR320) ~ 148 Mb | Artwork included
Classical, Choral | Label: Linn Records | # CKD 449 | Time: 01:01:39

Gramophone Classical Music Awards 2014 Choral category winner! Purely on grounds of performance alone, this is one of the finest Mozart Requiems of recent years. John Butt brings to Mozart the microscopic care and musicological acumen that have made his Bach and Handel recordings so thought-provoking and satisfying.
René Jacobs, Akademie für Alte Musik Berlin - Mozart: Die Zauberflöte (2010)

René Jacobs, Akademie für Alte Musik Berlin - Mozart: Die Zauberflöte (2010)
EAC | FLAC | Track (Cue & Log) ~ 733 Mb | Total time: 167:11 | Scans included
Classical | Label: Harmonia Mundi | # HMC 902068.70 | Recorded: 2009

With the belief that “No opera loses so much as Die Zauberflöte if one strips it of its drama and that means, above all, the spoken dialogue,” René Jacobs’ agenda in Die Zauberflöte is to rehabilitate the reputation of Schikaneder’s libretto. At the heart of his reassesment is the idea that Schikaneder and Mozart’s Masonic message is deeper and more carefully presented than we have thought. He suggests that seemingly silly or inconsistent aspects of the story are put there as intentional false paths as the audience, not only the prince and the bird catcher, undergoes its own trials of initiation. The opera’s symbolism and structure are explained in convincing detail in an essay in the booklet by the Egyptologist and Mozart researcher Jan Assman.
Hilary Hahn & Natalie Zhu - Wolfgang Amadeus Mozart: Violin Sonatas KV 301, 304, 376 & 526 (2005)

Wolfgang Amadeus Mozart: Violin Sonatas KV 301, 304, 376 & 526 (2005)
Hilary Hahn (violin), Natalie Zhu (piano)

EAC | FLAC | Image (Cue&Log) ~ 302 Mb | Scans included | Time: 01:10:00
Classical | Label: Deutsche Grammophon | # 00289 477 5572

Hilary Hahn and Natalie Zhu prove they are an excellent duo team in their first recording together, featuring four of Mozart's sonatas for violin and piano. All dating from 1778 and later, Mozart treats the two instruments more equitably in these sonatas than in his earlier ones. Hahn and Zhu are technically flawless together. They match each other as closely as two different instruments can to achieve a true duet sound. Just as Hahn "digs" into her strings for extra friction in the opening of the Sonata in E minor, K. 304, Zhu aims for the same tone quality with her touch. The two use longer note values, enhanced by vibrato and pedal, to give the music a pretty sound. It's probably more than a Classical era purist would like, but this is by no means a Romantic interpretation. Their slow movements, particularly those of K. 376 and K. 526, have beautifully rounded, cantabile phrases. The Allegro con spirito of K. 301 has bright accents and intense diminuendos and crescendos, demonstrating that this music isn't all elegance and delicacy.
Kari Kriikku, Tapiola Sinfonietta, John Storgårds - Mozart, Molter: Clarinet Concertos (2005)

Kari Kriikku, Tapiola Sinfonietta, John Storgårds - Mozart, Molter: Clarinet Concertos (2005)
EAC | FLAC (image+.cue, log) | Covers Included | 62:19 | 332 MB
Genre: Classical | Label: Ondine | Catalog: ODE 1056-2

Mozart?s concerto actually began life as a concerto for basset horn (not basset clarinet) and was written in the key of G. The manuscript ended abruptly after the 191st measure of the first movement. Mozart rethought his plan, decided to recast the concerto in A, and overhauled the solo part for basset clarinet, an instrument developed by his friend Anton Stadler The version that entered the repertoire after Mozart?s death was an adaptation of the original.

Gidon Kremer & Kremerata Baltica - After Mozart (2001)  Music

Posted by Designol at Nov. 13, 2022
Gidon Kremer & Kremerata Baltica - After Mozart (2001)

Gidon Kremer, Kremerata Baltica - After Mozart (2001)
W.A. Mozart - Alexander Raskatov - Valentin Silvestrov - Alfred Schnittke - Leopold Mozart

EAC | FLAC | Image (Cue&Log) ~ 290 Mb | Mp3 (CBR320) ~ 177 Mb | Scans included
Genre: Classical | Label: Nonesuch | # 79633-2 | Time: 01:06:25

After Mozart, the 2001 Grammy winner for Best Small Ensemble Performance, by Gidon Kremer and Kremerata Baltica, brings together the music of Wolfgang Amadeus Mozart (and his father, Leopold), with three contemporary works inspired by him. The works included, by contemporary Eastern European composers such as Alexander Raskatov, Valentin Silvestrov and Alfred Schnittke, invoke Mozart’s memory in ways direct and more subtle, and the more familiar Mozart pieces sandwiched in serve to bring the listener to a new way of hearing the more familiar pieces. The disc is an attempt, in Kremer’s words, to “set Mozart in the frame of our own time”.
Matthias Bamert, London Mozart Players - Adalbert Gyrowetz: Symphonies (2000)

Matthias Bamert, London Mozart Players - Adalbert Gyrowetz: Symphonies (2000)
EAC | FLAC | Image (Cue & Log) ~ 310 Mb | Total time: 64:13 | Scans included
Classical | Label: Chandos | CHAN 9791 | Recorded: 1998

I was only a talented man who can be happy if he conquers the present; only a genius lives beyond the grave, wrote Adalbert Gyrowetz in 1850, and history has borne him out. Gyrowetz (1763-1850) was yet another of the 18th century’s prolific (more than 30 operas, 40 symphonies, and a large body of chamber music, songs, and sacred works) and talented composers who earned their daily bread by turning out what were very interesting, pleasing, but ultimately time-bound works. The symphonies on the present disc are all believed to have been written around or before 1790. The first two, Op. 6 Nos. 2 & 3, are typical classical symphonies that follow the standard fast-slow-fast-fast pattern.
Richard Stoltzman, Tokyo String Quartet - Mozart: Clarinet Concerto, Clarinet Quintet (2004)

Richard Stoltzman, Tokyo String Quartet - Mozart: Clarinet Concerto, Clarinet Quintet (2004)
EAC | APE (image+.cue, log) | Covers Included | 63:47 | 281 MB
Genre: Classical | Label: RCA Red Seal | Catalog: 60866

First released in 1991 and reissued in 2004, this CD of Mozart's Clarinet Concerto and the Clarinet Quintet is fair in most regards except for the featured soloist's quirky playing. Richard Stoltzman's fans may like this disc in spite of its problems, especially if they are more interested in clarinet technique than in Mozart's music. But others may sense that he has little understanding of the composer or Classical style, and that these interpretations are superficial and whimsical, rather than deeply felt or carefully considered.