MOZART: Così fan tutte (Highlights)

MOZART: Concerto for Flute and Harp / Sinfonia Concertante

W.A. Mozart: Complete Works for Horn and Orchestra

Mozart's songs--at least some of them--have appeared on disc with reasonable frequency, but usually on compilations with works by other composers. A couple of editions claiming to be "complete" have been issued, but this newcomer overall is the best, combining the sincere, articulate interpretations of two accomplished if not always compelling singers performing 36 songs on two discs. One of the songs, "Luisens Antwort", is actually by Schubert, and is included for textual comparative purposes with Mozart's "Das Lied der Trennung"; another is likely an arrangement by Mozart of an original song by Czech composer Josef Myslivecek; a third--"Die Zufriedenheit"--appears in two essentially different versions, one with piano, the other a setting with mandolin accompaniment.

Most striking to a listener more or less unfamiliar with these songs is how substantial and durable and specialized many of them are. With a few exceptions these certainly are anything but minor amusements or even scraps from this or that opera wastebasket. Of course we take the high level of craftsmanship and melodic invention for granted; but because we don't often hear or even recognize Mozart as a "song composer"--certainly not in the manner of later composers such as Schubert--the opportunity to listen to all of his works in the genre--not just the usual, most popular examples--is something of a revelation as well as another reminder of his genius.

Speaking of Schubert, it's easy to hear more than a bit of the musical sensibility of that yet-to-be-born composer in songs such as "An Chloë" and "Abendempfindung an Laura"; and who can resist the beautiful, simple melody and artful text setting of "Das Traumbild"--Mozartean elegance at its finest. There's also plenty of drama in songs such as "Der Zauberer" and (in a near-operatic exposition) "Die Ihr des Unermeßlichen Weltalls Schöpfer ehrt".

All of these songs are given heartfelt and technically solid performances by soprano Ruth Ziesak and tenor Lothar Odinius, although overall Odinius, with his easy-on-the-ear, lyric timbre, delivers the more memorably expressive interpretations. Ziesak has a very pleasing light soprano but sometimes we might wish for a bit more emotional involvement, as in the popular "Das Veilchen". However, both singers are accomplished lieder recitalists (both have contributed admirably to Naxos' ongoing Schubert Edition) and so is their superb accompanist Ulrich Eisenlohr, who makes the most of Mozart's integral piano parts, which often seem to anticipate much later developments in lieder composition. The studio sound is detailed and well-balanced between voice and piano, although the latter could benefit from just a touch less brightness in the treble. Liner notes provide a thorough discussion of all the songs; texts and translations are available only from Naxos' website.

--David Vernier, ClassicsToday.com

Mozart: Piano Concertos Nos. 5 and 26 / Rondo, K. 382

Mozart: Piano Concertos Nos. 16 and 25 / Rondo, K. 386

Mozart: Piano Concertos Nos. 9 and 27

Mozart: Piano Concertos Nos. 13 and 20

During his seven years as a Mason, and in addition to the incidental music for Thamos, King of Egypt and the Magic Flute, which abound in Masonic symbolism, Brother Mozart adapted or newly composed a number of works for his fraternity, some of which.

Mozart: The Complete Church Sonatas

Mozart: Violin Concerto No. 3 / Beethoven: Violin Concerto i

Along with Suchon and Cikker, Alexander Moyzes was one of the leading Slovak composers of his generation. His compositional style was inspired by the folk music and beautiful landscapes of his native land, but also took account of contemporary trends in European music after the First World War. These early symphonies, infused with Moyzes’ masterful orchestration and control of counterpoint, signify a new period in 20th century Slovak music. This album is a reissue of a previous release from 2000 that was part of the Marco Polo complete Moyzes symphonic cycle. Fanfare wrote of the original release: “A [release] no collection of 20th century symphony can do without. Bring on the remaining 10!” ClassicsToday.com wrote: “Moyzes’ music is engaging, well crafted, and beautifully orchestrated- qualities clearly understood and successfully conveyed by Ladislav Slovak and his Slovak Radio Symphony Orchestra.

Alexander Moyzes’ symphonic cycle is the best-known by a Slovak composer. His synthesis of Slovak influences and contemporary trends in European music informs every strand of his compositions. The Symphony No. 7, Op. 50 is his largest and most powerful orchestral statement, which he dedicated to the memory of his young daughter. Peasant scenes, folk dances and exceptional lyric beauty form the bedrock of a passionate and dramatic work. Written as a response to the Soviet invasion of Czechoslovakia in August 1968, Symphony No. 8 ’21.08.1968,’ Op. 64 is a brooding lament that shares affinities with Shostakovich’s symphonic writing. This album is volume 3 in a series of reissues from the Marco Polo label. These releases remain as the only easily accessible reference, and with recordings and performances that still sound fresh and invigorating, we felt it was time for a revival. Of the original release, International Record Review wrote: “the Seventh Symphony… opens, in a beautiful albeggiante pastorale- quite the loveliest thing I’ve heard from Moyzes- which leads into a jolly, even rumbustious, folk dance. Ladislav Slovak, who died in 1999, does Moyzes as proud in these two releases as in the previous recordings in the cycle: reliable playing, good sound.”

Moritz Moszkowski enjoyed a considerable international reputation as a composer and pianist, and was feted as the natural successor to Chopin. It is a mark of his music's success that it was arranged for countless ensembles and solo instruments. French violinist Emile Sauret transformed the popular Spanish Dances into virtuoso showpieces filled with all manner of impressive elaborations, Jascha Heifetz similarly turning Etincelles or "Sparks" into something brilliantly light and twinkling. The interaction of two violins makes the Suite highly dramatic, contrasting with the fine lyrical melody of Moszkowski's Serenata.

Listen to the Naxos Podcast to learn more about this release

The Eighth Book of Madrigals, subdivided into a substantial series of vocal and instrumental partbooks, contains some of Monteverdi's greatest music. In this sumptuous collection the material is carefully arranged by category into madrigals of war, love and those for the stage, with a wide array of human passions and compositional styles. This is the first recording to present Book Eight in its original, uncut form, also incorporating instrumental sinfonias and dances by Biagio Marini to round off Monteverdi's design. In keeping with seventeenth-century practice, the madrigals are performed entirely by male voices, including a boy soprano in the role of Cupid.

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REVIEWS:

The quality of the performances is extremely high. Technical prowess is always in the service of the music, and Marco Longhini is not averse to pushing his all-male ensemble to extremes of slow or fast tempos or to special vocal effects. Another strength of this excellent interpretation is the size and scope of the instrumental forces. There are 9 players in the continuo group, a further 9 in a mostly string ensemble (including 2 recorders), and a viola da gamba quartet. This gives Marco Longhini a very wide palette to draw on for dramatic power, theatrical variety, and evocative effect.

– American Record Guide

As Longhini has pointed out in previous releases, the instruments to be used is largely left to the performers, and in the composer’s day would probably have depended on those available. In this series of discs he has opted for a ‘middle-of-the-road’ approach, so as not to become ornate, yet providing more that an obliging backdrop. In the vocal group there are, of course, no female voices in music of that period, so that much rests on the shoulders of the outstanding countertenor, Alessandro Carmignani. Yet again I will heap praise on the sonorous bass voice of Walter Testolin, his deep voice is an earthy delight. Solos permeate all of the madrigals, and when numerous voices are used, the Delitiae’s blend is pure joy. Longhini's approach throughout this series has that feel of dedication and authenticity, the music continually intriguing, immediately likeable, and, in every way, it has been a wonderful experience with this as its crowning glory. The engineers have once again played their part in the clarity of texture they have created. It is terribly sad that it is coming to an end, but there remains just one more book, the unfinished Ninth, that was published after the composers death.

– David's Review Corner (David Denton)