Mozart Symphonies

Started by Mandryka, September 26, 2011, 09:49:57 AM

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Scion7

When, a few months before his death, Rachmaninov lamented that he no longer had the "strength and fire" to compose, friends reminded him of the Symphonic Dances, so charged with fire and strength. "Yes," he admitted. "I don't know how that happened. That was probably my last flicker."

Scion7

When, a few months before his death, Rachmaninov lamented that he no longer had the "strength and fire" to compose, friends reminded him of the Symphonic Dances, so charged with fire and strength. "Yes," he admitted. "I don't know how that happened. That was probably my last flicker."

Scion7

aaah - Mozart really getting into serious business with symphonies:

When, a few months before his death, Rachmaninov lamented that he no longer had the "strength and fire" to compose, friends reminded him of the Symphonic Dances, so charged with fire and strength. "Yes," he admitted. "I don't know how that happened. That was probably my last flicker."

Scion7

When, a few months before his death, Rachmaninov lamented that he no longer had the "strength and fire" to compose, friends reminded him of the Symphonic Dances, so charged with fire and strength. "Yes," he admitted. "I don't know how that happened. That was probably my last flicker."

Scion7

and we arrive at the first of the three greatest masterpieces:

When, a few months before his death, Rachmaninov lamented that he no longer had the "strength and fire" to compose, friends reminded him of the Symphonic Dances, so charged with fire and strength. "Yes," he admitted. "I don't know how that happened. That was probably my last flicker."

Scion7

and finally, the G minor & the Jupiter:

When, a few months before his death, Rachmaninov lamented that he no longer had the "strength and fire" to compose, friends reminded him of the Symphonic Dances, so charged with fire and strength. "Yes," he admitted. "I don't know how that happened. That was probably my last flicker."

George

Wanted to bump this thread, as I have recently been enjoying Walter's stereo recordings of the Symphonies. I only wish there were more.

I am also curious about Krips, but I have read mixed accounts of his Mozart. How do folks feel he compares to Walter, Szell and Boehm?
"I can't live without music, because music is life." - Yvonne Lefébure

Opus106

Quote from: George on August 05, 2012, 04:55:10 AM
Wanted to bump this thread, as I have recently been enjoying Walter's stereo recordings of the Symphonies. I only wish there were more.

I am also curious about Krips, but I have read mixed accounts of his Mozart. How do folks feel he compares to Walter, Szell and Boehm?

The latest post from his GMG evangelist. ;)
Regards,
Navneeth

George

Quote from: Opus106 on August 05, 2012, 05:09:18 AM
The latest post from his GMG evangelist. ;)

Thanks! (he doesn't compare Krips's style to the other conductors I mentioned, so perhaps he'll stop by and do so.)
"I can't live without music, because music is life." - Yvonne Lefébure

The Raven

I have this one
[asin]B000OPPSXK[/asin]

name me the numbers you want to listen to and then you can compare yourself

Sergeant Rock

Quote from: George on August 05, 2012, 05:22:52 AM
Thanks! (he doesn't compare Krips's style to the other conductors I mentioned, so perhaps he'll stop by and do so.)

George, you have to visit the Identify Your Avatar thread  ;D

Concerning your question about Krips. Can't help you. I haven't heard his Mozart (other than short clips).

Sarge
the phone rings and somebody says,
"hey, they made a movie about
Mahler, you ought to go see it.
he was as f*cked-up as you are."
                               --Charles Bukowski, "Mahler"

George

Quote from: Sergeant Rock on August 05, 2012, 07:11:43 AM
George, you have to visit the Identify Your Avatar thread  ;D

That be Amy Sedaris. From the awesome show Strangers With Candy. You must Netflix it!!
"I can't live without music, because music is life." - Yvonne Lefébure

George

#72
Quote from: The Raven on August 05, 2012, 06:48:32 AM
I have this one
[asin]B000OPPSXK[/asin]

name me the numbers you want to listen to and then you can compare yourself

Nos 39 and 41 would be great!

Also, If you or anyone else has compared this to the original Philips CDs, I'd love to know your impressions of the sound quality.
"I can't live without music, because music is life." - Yvonne Lefébure

Mandryka

The whole Krips thing's on spotify George.
Wovon man nicht sprechen kann, darüber muss man schweigen

George

Quote from: Mandryka on August 05, 2012, 09:23:38 AM
The whole Krips thing's on spotify George.

Yes, but many tracks are missing in the USA.  :-\
"I can't live without music, because music is life." - Yvonne Lefébure

Mandryka

Quote from: George on August 05, 2012, 09:25:00 AM
Yes, but many tracks are missing in the USA.  :-\

One more readon why the Uk is better.
Wovon man nicht sprechen kann, darüber muss man schweigen

George

Quote from: Mandryka on August 05, 2012, 09:47:30 AM
One more readon why the Uk is better.

Knew that was coming... ::)
"I can't live without music, because music is life." - Yvonne Lefébure

Mandryka

#77
Very much enjoying the Prague symphony here:



What he does is take the opening adagio really seriously, it's like threatening Don Giovanni music, and the subsequent allegro is played pretty straight, no attempt to play it for laughs or lightness, and there's lots of interesting tensions and darkness.

Now, the reason for posting this is it reminded me of another Mozart performance I was enjoying in Spring -- The Petersen Quartet playing the Dissonance Quartet. They also find real darkness in the opening adagio and they also play the subsequent allegro  highlighting tensions and avoiding joviality.



We all know that Mozart wrote some dark music, stuff like the Masonic Funeral March. But what I like is performances which find intimations of this serious side to Mozart in unexpected places. Another example may be Furtwangler's Gran Partita.
Wovon man nicht sprechen kann, darüber muss man schweigen

trung224

 Base on recommendation by Scarpia, I try Harnoncourt's effort with RCO.
[asin]B000000SGV[/asin]
   I really enjoy this performance. Tempo is fast but very energetic with well-judged detail. And the best thing is the sound from  RCO, beautiful but very intense, unlike the gutsy sound of some HIP orchestra Harnoncourt works with. This performance definitely joined with Fricsay's, Klemperer's,  and Scherchen's as my favorite performances :)

Roberto

#79
Quote from: George on November 30, 2011, 11:55:05 AM
And finding out recently that EMI, who are already the kings of noise reduction, have been using compression in their recent transfers has made me even more cautious about who I trust when it comes to historical transfers. That leaves plenty of money for labels/mastering engineers who do work that I do enjoy (Seth Winner, Ward Marston and Mark Obert Thorn.) Perhaps at some point they will transfer those Toscanini recordings, who knows?   
Last EMI historical recording what I bought was the Dinu Lipatti complete set. That is a shame. Completely over-filtered and over-noise-reductioned. I will buy nothing from that series again. But their 3CD Furtwängler set was quite acceptable.

What about Opus Kura? They don't use any filtering and noise reduction and they have Mozart with Toscanini.