Discussion in 'Music Corner' started by George P, Aug 15, 2014.
From my piano playing days (a long, long time ago) I vaguely remember that they were.
When I read that I immediately felt "charm" was the wrong word (and I realize you may have only been commenting on the piano sonatas). What Mozart had was "grace" - in almost every sense of the word. His music has other qualities as well, but "grace" captures a lot of them.
Now playing…my LP is a Mono Dynagroove, which I found at an antique store still sealed. Naturally, I unsealed this sucker, and I'm glad I did, it sounds GREAT.
I used to hate his music--thought it was boring and insipid--so to say anything even remotely nice about it is quite an achievement! Actually, I genuinely enjoy his graceful music these day, especially the minor key pieces.
You must have been listening to the wrong performers.
I seem to remember Gulda saying something about how many pianists use and view Mozart as "warm up" repertoire, and that when he came back to Mozart's music later in life, he realized there was far more depth and truth in it than he first realized.
The Classical style of Haydn and Mozart has more ambiguity of phrasing than is immediately apparent looking at the score. I think Romantic music sort of plays itself. You can have greater intensity or better musicianship obviously but the way the phrases go is more settled. For example now that Mahler has become more widely known I hear a lot of consistency in the performance of his music and don't hear something wildly wrong any more, even though some are a bit better than others. With Mozart and Haydn I find many performances downright wrong and am truly startled when I hear a performance that sounds right. Of course, another problem with pre Romantic music is that the performance style has been lost and we have to guess what Mozart and Haydn were hearing or wanted.
BTW this has nothing to do with HIP or traditional performance style as the vast majority of both sound wrong to me.
I can't be sure, but I think the first Mozart recording I purchased was George Szell conducting Symphonies 35, 39, 40 and 41. The energy in those performances was palpable.
Mozart's music always seems to have perfect balance and great beauty. I can't think of another composer I can say that about.
Me too! Small world...
Martinon's Bartok with CSO is not as well known as the Reiner's and this is a shame.
This is at the top of my list of the best recordings of the Miraculous Mandarin suite.
The Hindemith is also very good.
I have the MLP CD of Dorati's reading of the MM with the CSO, and I can say that to my ears, this LP blows that one away both in terms of performance and sonics.
Or, as Schnabel put it, "Mozart is too easy for children and too difficult for adults."
That said, as far as the solo keyboard sonatas go, I'm really more taken with Haydn.
Just got an e-mail push from ArkivMusic.com; apparently it will be the exclusive North American distributor for a new series of recordings being issued by the Berlin Phil. Or. First release will be Schumann's symphonies led by Sir Simon Rattle; he opts for the 1841 version of the 4th. It's a deluxe production with a dvd, two CDs, a code to get a 192 kHz/24 bit download, a hardbound programme book, and access to the BPO's digital concert hall.
Probably a lot of you get these things, too, and as to Rattle I'll confess I've never seen (heard) what all the shouting was about, but just in case somebody who would be interested has missed the announcement I thought I'd mention it. Asking price is $59.99.
Oh, I think Haydn sonatas are wonderful...they are not pretentious, and they tend to have a refreshingly direct aesthetic, IMO. I have a CD of Andre Watts live at Carnegie Hall and he plays a Haydn sonata that is a gem...need to back to that recording and give another listen.
I believe Bruno Walter said that one shouldn't conduct any Mozart until they were at least 50. I think there's some merit to that...
So BPO is starting its own label just like LSO did with its LSO Live ...
I have the following two boxes and they are both excellent IMO ...
I own three complete cycles, Szell, Zinman and Bernstein, as well as may CDs with one or two of the symphonies. I don't like them enough to buy more, Especially at that price.
I have a few of the individual Brautigam albums. I prefer Brendel. Who I'm very interested in checking out eventually is Hamelin.
I only have Brautigam for the Haydn and Mozart boxes. I actually have quite a number of singles by Brendel on both LP and on CD ...
I have the Buchbinder set. I suspect these works would sound quite nice on the fortepiano.
To me that is grace. And it is there even in his more passionate works, such as the 20th piano concerto and his Requiem.
(CD Camerata 25CM-475) - Roland Batik`s (a early student of Gulda) performances really hit the spot by playing Haydn with dance-like lightness - but also revealing the complex structures of this music which are often rather interred by too rushed interpretations...recorded via subject japanese Label in glorious sound.........
A longtime favorite, although t drives the penny pincher in me nuts that DG could have included both volumes on one CD.
Now: Nielsen: Symphony 4, Op.29; Sibelius: Tapiola, Op.112 - Herbert von Karajan/Berlin Philharmonic Orchestra - DG
This CD has an unpleasant, shrill sound, especially in the strings, typical of the digital DG recordings of the era (1980s).
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