Violin Sonatas K301, 304, 379 & 481 - Wolfgang Amadeus Mozart (1756-1791) - Alina Ibragimova (violin), C�dric Tiberghien (piano) Mozart's violin sonatas span his entire career-the early ones are billed as piano sonatas with optional violin accompaniment-and they develop over the years into the first triumphs of the modern genre. Alina Ibragimova and C�dric Tiberghien have been enthralling audiences worldwide with these works, and now the first instalment is available as a highly desirable 2-for-1 album.

Classical Music

MOZART: VIOLIN CONCERTOS FRAN

THE ART OF JEAN-PIERRE RAMPAL

Mozart: Piano Concertos

The young Viennese pianist Stefan Vladar is rapidly building a big international career; and Sony have been quick to sign him up on an exclusive contract. This Mozart recital is the first of a series of solo recordings that will include such colossi of the keyboard repertoire as Brahms's C major Sonata and Beethoven's Diabelli Variations. His programme here has been intelligently chosen to encompass a diversity of forms and styles while retaining a coherent key sequence. The two well-contrasted sonatas (one from 1775, one from the Mannheim group of 1777) frame three shorter works from the last six years of Mozart's life: the urbane Rondo, K485 (in design not a rondo at all, but a monothematic sonata), the profound, highly chromatic Adagio, K540 and the entertaining, if slightly perfunctory, variations on a jejune minuet by Jean-Pierre Duport, cellist at the court of King Friedrich Wilhelm of Prussia.

I was impressed by much of this recital. Vladar is an elegant, well-schooled player with a refined, even touch; nothing in these performances is ungainly or ill-considered. Yet grace and poise are balanced by an underlying robust vitality in pieces like the first and last movements of K283 (done with nicely pointed rhythms and bold dynamic contrasts), the Duport Variations and the finale of K311, which shows off Vladar's technical address to advantage. This is a thoughtful and stylish debut recital from a young pianist who on this evidence has the potential to become a notable Mozartian. Sony's own high claims for the recorded sound are actually justified here: the piano image is outstandingly clear and lifelike.

-- Gramophone [6/1991]

Of these four Mozart [Sony Legendary Interpretations] sets, pride of place must go to the Robert Casadesus recordings of the late piano concertos—Nos. 21-3, 24, 26 and 27 plus the Double Concerto in E flat, in which he is joined by Gaby Casadesus (Eugene Ormandy and the Philadelphia accompany here). The 1960 recording of the Double Concerto, made in New York's Manhattan Center, is rather dry and doesn't help the music-making to smile, although the playing itself undoubtedly has its insights. The solo concertos were recorded in Severance Hall, Cleveland between 1959 (No. 22) and 1962 (Nos. 26-7) and the venue adds enough ambience to the forward balance to make it convincing. Indeed, the piano integrates well, even if tuttis are on a larger scale than would be expected today. George Szell conducts accompaniments that are very polished and lively. The orchestral credit is shared between members of the Cleveland Orchestra (No. 21), the Columbia Symphony Orchestra (Nos. 22-3 and 26-7) and the 'full' Cleveland (No. 24).

Though the very brisk finale of No. 21 in C is performed with tremendous bravura and sparkle, Casadesus's style is seldom self-consciously extrovert; he lets Mozart speak for himself. The playing in the slow movements is exquisite; colours are delicately shaded, dynamics subtly handled. The same comment applies to the secondary material of first movements, where Szell's authority is also telling. Concerto No. 22 in E fiat is marvellously played and my own favourite, No. 23 in A, captures that special blend of brilliance and underlying nostalgia that is the hallmark of this work. The Corona/ion (No. 26 in D) and the last concerto (No. 27 in B flat) both bring really memorable performances, in fact among the finest in the catalogue. Altogether this set is an essential purchase for any Mozartian who has not already invested in the separate issues.

-- Gramophone [9/1991]

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The ravishing slow movement of K 467 has never sounded more magical than here...this is exquisite Mozart playing, beautifully paced and articulated.

-- Penguin Guide [2003/2004]

THE HEIFETZ COLLECTION VOL 34

MOZART: SYMPHONIES NOS 15, 24,

REVIEWS:
American Record Guide (11-12/97, p.162) - "...[The recordings] reconfirm that Benny Goodman, for all his jazz experience, remained a superb classical clarinetist as well....The recordings, made at Tanglewood, are satisfactory....This is a must for Goodman fans and nostalgia buffs."

MOZART: SYMPHONIES NOS 38, 39,

BEETHOVEN, MOZART: CONCERTOS

MOZART: PIANO SONATAS KV 331-3

Recorded 1947-1958.

Classical Music