Mozart - Symphonies 28, 33, 35 + (2006)

Note: this CD released using DSD encoding.

George Szell conducting The Cleveland Orchestra at Severance Hall.

A compilation of Mozart recordings originally released on the Columbia label in 1950s and 1960s. Like most Mozart symphonies they're rather formulaic but spectacularly melodic. Appropriately, the normally heavy Cleveland Orchestras lightens up a bit for these tracks and Szell opts for brisk tempi.

Tracks:

• Symphony No. 28 in C Major, K. 200
  Recorded October 1 & 2, 1965, originally released 1966
• Symphony No. 33 in B-flat Major, K. 319
  Recorded October 26, 1962, originally released 1966
• Symphony No. 35 in D Major, K. "Haffner"
  Recorded January 8, 1960, originally released 1960
• Serenade in G Major, K. 525 "Eine kleine Nachtmusik"
  Recorded October 7, 1968, originally released 1969
• Overture to The Marriage of Figaro, K. 492
  Recorded October 25, 1957, originally released 1958

Personal Memory Associated with this CD: Not only have I played a couple of these pieces, I was in the pit orchestra for a whole dang production of The Marriage of Figaro back in '87. Perhaps it was those 3½ hour performances that put me off opera music for good.

In related news, I've attended exactly one opera since 1987, a performance of Richard Strauss’s final opera, Capriccio, at the Metropolitan Opera in January 1998. Mainly to see the Metropolitan Opera House in Lincoln Center and hear Dame Kiri Te Kanawa. But that really doesn't have much to do with this CD, so never mind. As you were.

Mozart - Symphonies 14-18 (1990)

Sir Charles Mackerras conducting the Prague Chamber Orchestra.

Five brief Mozart symphonies, written during the six months between December 1771 - May 1772, when Mozart was aged 15 - 16 years old. Early Mozart symphonies are rarely performed live but are often recorded as part of a series of recordings (or box set) that covers Mozart's entire output of symphonies (usually counted as 41, but there's doubt about symphonies numbered 2, 3 & 37, which are often considered as being of spurious authenticity).

The symphonies presented here are good, not great, especially when compared to Mozart's later, more mature works. These play more like theoretical studies, as in Leopold giving his son an assignment to write in the style of Bach. Still, there's no denying that Mozart was born with a gift for melody and, on occasion, he'll do something new and different harmonically. Certainly better than anything I was writing at 15 (and 25, 35, 45...).

However, if you want to hear the master's earlier works, either as serious historical music study or for shits and giggles, you could do worse than these recordings. According to the music critic of the Los Angeles Times in 1991:

Perhaps the most purposeful, consistently satisfying Mozart symphonies being recorded these days come from Sir Charles Mackerras and the modern-instrument Prague Chamber Orchestra on the Telarc label.

The latest installments of this nearing-completion series offer the works numbered 14 through 18, K. 114, 124, 128-30 (Telarc 80242); 19-23, K. 132-34, 162, 181 (80217); and Nos. 32, K. 318, 35, K. 385 (“Haffner”) and 39, K. 543 (80203).

The buoyancy and clarity of Mackerras’ fast-paced interpretations--the minuets really fly--are constants, as is the sweetness of string tone that marks the slow movements.

Telarc’s sonics are as problematic as earlier in the series: Why use a smallish band to achieve clarity of texture and then place them in a huge hall which disperses their sound? That complaint registered, Mackerras’ Mozart remains highly recommended.

Agreed, but remember I'm a member of the shits and giggles crowd these days.

Peak on the US Billboard Top 200 chart: Did not chart.

Tracks:

Personal Memory Associated with this CD: None

Previously revisited for the blog:
Requiem, K 626 (1992)
Horowitz Plays Mozart (1987)
Serenade in B flat, KV 361 "Gran Partita" (1984)
Requiem, KV 626 (1983)
Mozart Overtures (1982)

Mozart - Requiem, K 626 (1992)

Sir Georg Solti conducting the Wiener Philharmoniker (Vienna Philharmonic) and the Konzertvereinigung Wiener Staatsopernchor (Chorus of the Vienna State Opera). Recorded live in St. Stephen's Cathedral, Vienna, on December 5, 1991. Recorded live in Vienna to commemorate the 200th anniversary of Mozart's death. More on Sir Solti, his personal score, and this specific performance can be found at the Harvard University Library website:

The Mass was officiated by the Cardinal Archbishop of Vienna and was televised throughout Europe. “Through the two days of rehearsals, I had been troubled by the thought that Mozart had died only a short distance away and his funeral had been held in this very church. I felt that his spirit was there, somehow, and I feared that would unsettle me during the performance and I would start to cry.”

I've written about my love for this piece earlier on the blog for another recording, so it shouldn't surprise anyone that I'd pick up another recording of Mozart's Requiem, especially one conducted by Solti and inexplicably languishing in a used CD clearance bin.

The whole recording is a little heavy for my personal tastes, but that's a very minor quibble (and the subject matter is heavy, after all). The tone and tempi are spot on, but as I was digging the immaculate sounds and wonderful interpretation of the piece, the music stops and a foreign tongue speaks beginning about 30 minutes into the CD. Dahell? And then it hit me - they're doing an actual full Requiem Mass for Mozart, at the church where Mozart's funeral was held, on the 200th anniversary of Mozart's death, using Mozart's own music. I'm not even Catholic but I've got to admit that's pretty cool and drives home the actual liturgical purpose of the music and text. Powerful stuff.

Previously revisited for the blog:
Horowitz Plays Mozart (1987)
Serenade in B flat, KV 361 "Gran Partita" (1984)
Requiem, KV 626 (1983)
Mozart Overtures (1982)

JFK Original Motion Picture Soundtrack (1992)

John Williams' score for the polemical 1992 film, plus a few additional tracks not by Williams. Nominated for the Academy Award for Best Original Score, it lost to the score of Beauty and the Beast. Trying to pick the best Williams movie score is like trying to pick a favorite Beatles album, so I won't even bother trying, but this would certainly be in the discussion should I ever choose to have such a debate.

If you're looking for a full analysis of the soundtrack, you won't find it here, but you might like this entry from jwfan.com.

The music bears a strong resemblance to Williams' score for Catch Me If You Can, another oft-overlooked Williams soundtrack.

Peak on the US Billboard Top 200 chart: Did not chart

Tracks: 18 tracks, 65 minutes. To be honest, I could listen to the first five tracks and be done because all the themes are present in those 18 minutes of music, particularly the haunting snare drum lines and solo trumpet melody. Things really go sideways at track 7, the 1930 standard On The Sunny Side Of The Street by Sidney Bechet. The instrumental take isn't bad, just out of place. Same goes for Tony Bennett's Maybe September, Ode To Buckwheat by Brent Lewis, and the excellent El Watusi by Ray Barretto. Also included is the first movement of a Mozart Horn Concerto. However, I'll just program my player to play only Williams tracks from here on as the other tracks just break up the continuity of the album.

Personal Memory Associated with this CD: I'm a complete sucker for JFK conspiracy theories, have visited the fascinating Sixth Floor Museum several times, and try to drive through Dealey Plaza when I'm in Dallas.

View from the grassy knoll, July 26, 2002

Earlier this year, I took advantage of a trip to Ft. Worth to stop by Lee Harvey Oswald's hard-to-find grave. Told ya I was a complete sucker.

April 27, 2016
The grave marker on the right is for Nick Beef. Read the story here.

Despite the controversy surrounding the movie, I try to make time to watch my Blu-Ray copy of the film every year around the end of November. This year while watching, I wondered why I didn't have a copy of this captivating soundtrack. A few clicks later and here we are.

Previously revisited for the blog:
John Williams - By Request (1987)

Mozart - Requiem, KV 626 (1983)

Peter Schreier conducting the Dresden State Orchestra and the Leipzig Radio Chorus.

My favorite Mozart work and quite possibly my favorite work of classical music. And while I'd never heard of the conductor, the orchestra, or chorus prior to purchasing this CD (or since, for that matter), this is a fantastic recording. I've sought out other interpretations/recordings and have never found one that has this much energy or power. Soprano Margaret Price, with whom I was previously familiar, gives a fantastic performance on the solos.

Stereo Review, June 1984, pp. 85-86

While the 1979 stage play and 1984 movie Amadeus use the end of Mozart's life and his writing of the Requiem for dramatic effect, those shows should be viewed more for entertainment than historical accuracy. Mozart did not finish the Requiem, but it was later completed by Austrian composer Franz Xaver Süssmayr, reportedly finishing the work within 100 days of Mozart's death in 1791. While other versions exist, the Süssmayr is the most popular edition and the one used for this recording.

I've never compiled a list of classical music "desert island" discs, but if I were to do so, I'd start with this one.

Personal Memory Associated with this CD:  This is one of the first classical CDs I ever purchased and is showing some wear: the jewel case is cracked and scuffed while the booklet is warped from water damage. No matter. As you might expect, the disc has been played quite a bit in the last 25+ years but is holding up nicely, thankyouverymuch. I have my own study score (below) and can sing the tenor and bass parts if you need that (cinch me up in some tight pants and give me a few shots of bourbon and I might be able to sing the soprano and alto parts as well). In graduate school in 1989, I wrote a term paper for a music history class in which I analyzed the double fugue in the Kyrie section. While receiving high marks, that paper has unfortunately been forever lost to society, currently sitting in a landfill on a 5¼" floppy disc formatted for use with an Apple IIe.

Previously revisited for the blog:
Horowitz Plays Mozart (1987)
Serenade in B flat, KV 361 "Gran Partita" (1984)
Mozart Overtures (1982)

Mozart - Serenade in B flat, KV 361 "Gran Partita" (1984)

Sir Neville Marriner conducting the Academy of St. Martin-In-The-Fields.

Band directors and other conductors of wind instrument ensembles often make a big deal about this piece because it is one of the few wind pieces written by Mozart and can be played within the instrumentation of a normal college wind ensemble. Also, the original score is readily available for study. Many needless dissertations (yes, I know that's redundant) and score studies have been written about this piece. It is performed more than it should be on college campuses all over the world. Sorry, I'm not drinking the Kool-aid on this one. This, like almost every serenade composed during the classical era, was meant to be background music. The modern day equivalent would be a string quartet at a wedding reception. Everyone knows it's there but nobody is really paying attention to it. That said, it is awesome background music because it was written by Mozart, but it doesn't rate up there with, say, his Requiem (which is worthy of any and all hype thrown its way). So this is a very good piece, but I don't think it's a good as everybody else seems to think it is. The emperor has no clothes. As far as this recording goes, the interpretation is good enough. My main complaint would be the poor bassoon tone.

Stereo Review

Personal Memory Associated with this CD: I bought this around 1989; at the time I was being offered the Kool-aid in college and grad school (possibly aided by the 1984 film, Amadeus). Further analysis on my part changed my opinion that all the hype was much ado about nothing. As a result, this CD doesn't get much playing time (just to be a contrarian).

Previously revisited for the blog:
Horowitz Plays Mozart (1987)
Mozart Overtures (1982)

Mozart Overtures (1982)

Neville Marriner conducting the Academy of St. Martin-in-the-Fields

Opera is one of those genres that, as a musician, I feel I should enjoy, but I can't stand the things. However, I love Mozart's music, so maybe I bought this CD so I could feel like I had at least attempted to appreciate opera. This CD of overtures is currently the closest thing I have to opera in my collection. The performances on this release are top notch as Sir Marriner is one of the top interpreters of Mozart's music.

Tracks:

1. Le nozze di Figaro, K. 492 (The Marriage of Figaro)
2. Die Zauberflöte, K. 520 (The Magic Flute)
3. La clemeza di Tito, K. 621 (The Clemency of Titus)
4. Lucio Silla, K. 135
5. Die Entführung aus dem Serail, K. 384 (The Abduction from the Seraglio)
6. Don Giovanni, K. 527
7. Idomeneo, K. 366
8. Così fan tutte, K. 588 (Women are like that)
9. Der Schauspieldirektor, K. 486 (The Impresario)

Of the 9 overtures here, my favorites would be Le Nozze Di Figaro, Die Zauberflöte, Cosi Fan Tutte, Der Schauspieldirektor, and Don Giovanni. The overture to Lucio Silla is not Mozart's best work.

Personal Memory Associated with this CD: I'm sure I bought this primarily for the overture to The Marriage of Figaro because I had performed that opera when at college in 1987. Even though I'm not an opera fan and Mozart's trumpet parts aren't anything great, I enjoyed the experience.

Horowitz Plays Mozart (1987)

Recorded near the end of his life, Vladmir Horowitz puts in a remarkable, yet different, performance of a Mozart piano concerto and a sonata. Horowitz, as well as the conductor Giulini, made their reputations as interpreters of music from the romantic era, so there is a definite romantic slant to these recordings. Not to say that is bad, it's just different. Not at all what would have been heard in Mozart's time. I actually enjoy this recording and am amazed at Horowitz's technique as he was in his eighties when these works were recorded.

Stereo Review, February 1988, p.178

Tracks: CD contains Piano Concerto #23 in A, KV. 488 and Piano Sonata #13 in B-flat, KV. 333. I guess I prefer the concerto to the sonata because I think it is a better piece of music, but they're both very enjoyable.

Personal Memory Associated with this CD: During the spring semester of 1989, I was working part time with the San Antonio Symphony and taking graduate music classes at UT-San Antonio two nights a week. One of the courses was titled Music History: Classical Era. During one of the class meetings, the professor sat down at the piano and started playing to illustrate a point he was making. He played an excerpt from the piano concerto recorded here. I was so excited to recognize the piece because I had a very limited knowledge of piano repertoire. Made an A in the course, natch.