Here you have Mozart's aesthetics in a nutshell. Of course, music must not break a sweat," and must be natural to be of the highest order." Alfred Einstein wrote this in 1945 about Mozart's later works, and the Trio L�zard has discovered a new look at a group of works that exemplifies this idea of compressed aesthetics: the trios KV 439b, previously known as "five divertimenti", are not really divertimenti, at least Mozart does not call them that. In a long unknown transcript from Mozart's time, the 25 individual movements are arranged differently and supplemented by five arrangements of opera arias, resulting in 30 "Terzetti", as Mozart himself called it. Originally set for three basset horns, there are already alternative voices from the early days - the starting point for the Trio L�zard. Their convincing and brilliantly presented new version of the Terzetti for oboe, clarinet and bassoon shows the fascinating color and transparency of this music with voice alterations in the upper parts.

Few operas benefit as much as does Mozart’s Marriage of Figaro from being sung in the language of the audience. Even in this age of super-titles, there is no substitute for the direct communication from singers to audience in this brilliantly conceived social comedy. Thus, this new recording may well be one of the most important releases in Chandos’s admirable “Opera in English” project...this is a very well paced, lovingly shaped performance that binds into a persuasive whole. Chandos’s recording is, as is usually the case, on the reverberant side, but not unpleasantly so. An excellent essay accompanies the set, along with a complete English printed text. Henry Fogel, FANFARE

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MOZART: Piano Concertos Nos. 21 and 23 / Rondo in D major

On the occasion of it's 40th anniversary Carus has initiated a new series Carus Classics, featuring ten outstanding CD productions from the past library of recordings. This exclusive collection, designed by Friedrich Forssman and Cornelia Feyll, is presented in high-quality DigiPacs and each CD includes an extensive booklet. '... exemplary recording.' (New Classics, September 2005)

Sándor Végh's credentials as a Mozart conductor need no introduction. His musicianship, sense of style, and interpretive standards were second to none. Just listen to the way he handles the first subject of Eine Kleine Nachtmusik's opening movement, his execution of both forte and piano passages, giving each its particular character while always maintaining the long singing line. All of the performances in this set, drawn from the Salzburg Festival's Mozart Matinee concerts from 1988-93, show these same qualities in virtually every bar. The "little" G minor symphony is particularly noteworthy in this respect, perhaps because of its greater emotional range than the various divertimentos and cassations also included here; but there isn't a note anywhere that isn't vibrantly alive.

The three concertos with Schiff (Nos. 8, 11, and 13) comprise the most substantial works in this set. Although very well performed, Schiff and Végh made commercial recordings of these pieces for Decca that feature even better playing and engineering. In the two vocal numbers, including "Ch'io mi scordi di te?", perhaps the greatest concert aria ever written (and featuring Schiff in the piano solos), mezzo Daphne Evangelatos has a notably rich and pleasant tone, but she sings under the notes and fudges some of her passage-work. So there are small blemishes here and there. The sonics are good but variable over the five-year period in which the performances took place, and the programming may not be optimal from a marketing point of view if you already own the Decca set of piano concertos--but in all other respects this is a set to cherish.

--David Hurwitz, Classics Today.com

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Tracks:
1. SZELL, GEORGE- CASADEUS - PIANO CONCERTO NO.12 IN LA MAJOR I. ALLEGRO
2. SZELL, GEORGE- CASADEUS - PIANO CONCERTO NO.12 IN LA MAJOR -II. ANDNATE
3. SZELL, GEORGE- CASADEUS - PIANO CONCERTO NO.12 IN LA MAJOR II. ALLEGRETTO
4. SZELL, GEORGE- CASADEUS - PIANO CONCERTO NO.15 IN SI BEMOL MAJEUR - I. ALLEGRO
5. SZELL, GEORGE- CASADEUS - PIANO CONCERTO NO.15 IN SI BEMOL MAJEUR- II. ANDANTE
6. SZELL, GEORGE- CASADEUS - PIANO CONCERTO NO.15 IN SI BEMOL MAJERU- III. ALLEGRO
7. SZELL, GEORGE- CASADEUS - PIANO CONCERTO NO.17 IN SOL MAJEUR - I. ALLEGRO
8. SZELL, GEORGE- CASADEUS - PIANO CONCERTO NO.17 IN SOL MAJEUR- II. ANDANTE
9. SZELL, GEORGE- CASADEUS - PIANO CONCERTO NO.17 IN SOL MAJEUR- III. ALLEGRETTO
10. SZELL, GEORGE- CASADEUS - PIANO ET ORCHESTRE NO. 18 EN SI BEMO MAJEUR- I. ALLEGRO VIVACE
11. SZELL, GEORGE- CASADEUS - PIANO ET ORCHESTRE NO. 18 EN SI BEMO MAJEUR- II. ANDANTE UN POCO SOSTENUTO
12. SZELL, GEORGE- CASADEUS - PIANO ET ORCHESTRE NO. 18 EN SI BEMO MAJEUR- III. ALLEGRO VIVACE
13. SZELL, GEORGE- CASADEUS - PIANO ET ORCHESTRE NO. 20 EN RE MINEUR- I. ALLEGRO
14. SZELL, GEORGE- CASADEUS - PIANO ET ORCHESTRE NO. 20 EN RE MINEUR- II. ROMANZE
15. SZELL, GEORGE- CASADEUS - PIANO ET ORCHESTRE NO. 20 EN RE MINEUR- III. RONDO- ALLEGRO ASSAI
16. SZELL, GEORGE- CASADEUS - 2 PIANOS ET ORCHESTRE NO. 10 IN MI BEMOL MAJEUR- I. ALLEGRO
17. SZELL, GEORGE- CASADEUS - 2 PIANOS ET ORCHESTRE NO. 10 IN MI BEMOL MAJEUR- II. ANDNATE
18. SZELL, GEORGE- CASADEUS - 2 PIANOS ET ORCHESTRE NO. 10 IN MI BEMOL MAJEUR- III. RONDO. ALLEGRO

When orchestras became larger and larger, instrumentations more and more refined, and sound impressions louder and louder, Robert Fuchs composed . . . string quartets. Working in what is certainly the most intellectual musical genre, he had ears for intimate personal statements, while the music business had eyes mostly for showy spectacles. The Minguet Quartet, now a sought-after ensemble, once rescued Fuchs’s four quartets from decades of neglect when it was as aspiring young formation; the newly released special edition even today makes for true listening pleasure. The namesake of the Quartet is Pablo Minguet, a Spanish philosopher of the 18th century who attempted, in his writings, to facilitate access to the fine arts for all sectors of the population – and this idea is a chief artistic concern of the Minguet Quartet particularly while touring for concerts around the whole world. The passionate and intelligent interpretations of the Minguet Quartet always ensure inspiring listening experiences – “for the joy in sound and expression with which the ensemble makes the works speak enlivens even the smallest detail”. (Frankfurter Allgemeine Zeitung)

Mozart: Violin Concertos Nos. 4 & 5

Mozart: Flute Concertos Nos. 1, 2 & Clarinet Concerto

Classical Music

"...Recordings of a work like the Trout always have a problem due to the difficulties of balance between piano and a small string ensemble. In this instance the engineers have avoided the pitfalls and have come up with a good balance. A fresh sounding, lively performance appeals with the important piano part played tastefully by Emanuel Ax and a pleasing degree of shading and contrasts from the strings. Good ensemble playing from a highly regarded group... The String Quintet version of Eine Kleine Nachtsmusik makes a welcome second item. More normally heard in a chamber orchestra version, this minimised Mozart (an option from the time of its composition) is a refreshing change. To hear the five lines (two violin parts not a doubling) is a delight, and the 'authentic' movement of recent years must take some credit for the greater appreciation the reduction gives... [An] attractively compiled CD..." -- Harry Downey, MusicWeb International

LEONTYNE PRICE SINGS MOZART

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Carlo Grante is one of the most active and accomplished performing and recording artists of his generation. His concert performances feature a broad repertoire: recently, under the direction of conductor Fabio Luisi, he performed Franz Schmidt's Concertante Variationen with the MDR Orchestra of Leipzig at the Gewandhaus;.

Mozart, W.A.: Piano Music

The effervescent and communicative energy of Bavouzet and Takacs-Nagy is encapsulated again in this second volume of their Mozart series. These exhilarating interpretations of Mozart’s piano concertos of 1784, faultlessly supported by the Manchester Camerata, follow highly praised concerts as well as a first volume which was “Editor’s Choice” in Pianist. The two concertos presented here are among the six that Mozart composed in Vienna in an extraordinarily productive year. As Bavouzet states in an exclusive personal note, they “share their association with operatic and symphonic styles. The contrasts of mood in their first movements relate them more closely with music for the operatic stage, while their finales are conceived in purely instrumental terms and make reference to the symphonic domain. On the other hand, these two works are complete opposites as far as their use of wind instruments is concerned. In KV 449 their inclusion is ad libitum, whereas they very often play the principal role in KV 459.”

REVIEWS:

Led by Adi Brett, the ensemble is ideally sized for this repertoire, especially in the string department. Because clearly only players of the highest calibre are engaged, the character here is much more akin to the intimacy of a chamber group ensemble than a true symphonic ensemble, the clue, of course, partly being in the name. But that is not to say that there is not power-a-plenty when called for. The very opening of the E flat Concerto, in fact, says it all in a nutshell: absolute precision in the ornaments, great clarity of line where any instrument that has something important to say at any one point stands out, but never dominates the texture, and the impressive attack as the music goes into the relative minor (C minor, and one of the composer’s favourite keys for drama) around twenty-five seconds into the exposition. These all mark out this performance as something special, even before the soloist has made his own telling first contribution. It is clear that both sheer dynamism and enthusiasm in the orchestral playing emanates from the man at the front, Budapest-born Gábor Takács-Nagy, who also works just as hard to nurture the more lyrical side of the music. That is something he is more able to do by forsaking the baton, and itself something perfectly feasible for this size of ensemble.

But when Bavouzet makes his first appearance, he takes over exactly where the Camerata have left off, attesting to a great feeling of empathy between soloist and conductor. All too often, the soloist’s body language can suggest a degree of displeasure at the way the orchestra deals with the opening themes that the soloist will then make use of in the ensuing solo exposition.

In discussing his previous Mozart CD, Bavouzet explains his choice of the Yamaha CFX instrument: “When considering a piano for this project I immediately thought about a Yamaha. The wonderful comfort of the keyboard action, the refined sound, and the natural balance between bass and treble were qualities that made my choice obvious and perfect for the Mozart Concertos.” Although a life-long Steinway aficionado, I have to agree with his comments, in as much as the piano-sound on this new CD is concerned, enhanced, of course, by the outstanding fidelity of the recording as a whole, and the warm acoustic of the venue.

With the added generosity of two well-known and much loved Divertimenti—in D major, KV 136, and F major, KV 138, respectively—where the Manchester Camerata really comes into its own with some stunning playing, there can be little doubt that this new CD is the perfect successor.

-- MusicWeb International

Mozart: Sinfonia concertante, K. 364 & Violin Concerto No. 5

MOZART: VIOLIN CONCERTO 3, CON

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