Where to start with Mozart

Started by Waitaminuet, April 26, 2013, 04:18:30 PM

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Karl Henning

Quote from: jochanaan on August 12, 2013, 02:11:06 PM
. . . However, I tend to agree that a major revision such as Mr. Brook's should come covered with disclaimers.  :o

I suggest; Unsafe at any speed.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Opus106

Quote from: jochanaan on August 12, 2013, 02:11:06 PM
[M]any of us who love the Academy of Ancient Music's Messiah know about the changes Handel made in it during his own lifetime.  So to say that any change is somehow sacrilegious or in any other way improper is unrealistic in the world of theater.

And let's not forget the changes that that brat from Salzburg made to the score on the suggestion of some elitist Viennese librarian. They ought to have been burned!
Regards,
Navneeth

modUltralaser

I'd say to start with his Piano Concertos and to end with his symphonies.

Roberto

Quote from: Dancing Divertimentian on July 29, 2013, 11:04:36 AM
Unfortunately Universal's remastering technique these days isn't always the "unveiling of sound" it claims and can have older recordings sounding "more spacious" but the tradeoff can be a lack of bloom and warmth (strings particularly can sound shrill). The other downside is balances have been known to be altered from the original and not always in a positive way.
I've read it many times so I believe you however I have many DG "The Originals" reissue and I find them enjoyable. (I made only one comparsion with the original LP issue: I didn't notice any difference between CD and LP with Pollini's late Beethoven piano sonatas.)

Quote from: Dancing Divertimentian on July 29, 2013, 11:04:36 AM
The other thing is is that Santa Fe Listener isn't exactly a revered Amazon "reviewer" around these parts (GMG) and I've found him at times extremely eccentric, especially in his vendetta against Radu Lupu. Apparently Santa Fe Listener spares no expense in acquiring gobs of Lupu recordings only to trash them on Amazon.
I didn't know this. I don't have preferred Amazon reviewer I've just find that.

Mandryka

#104
Quote from: jochanaan on August 12, 2013, 02:11:06 PM
Anyone who has done any theater--and I have--knows that things get changed all the time.  There are several "original" versions of Mozart's Don Giovanni, all from Mozart's hand, and many of us who love the Academy of Ancient Music's Messiah know about the changes Handel made in it during his own lifetime.  So to say that any change is somehow sacrilegious or in any other way improper is unrealistic in the world of theater.

However, I tend to agree that a major revision such as Mr. Brook's should come covered with disclaimers:o

I have no problems with them on this score.

The thing was described on the posters as "Opéra librement adapté par . . " And as I said they called it "une . . "not "la . . ."

The publicity also said  " Une flûte. . . loin des conventions figées de l'opéra" . I'd be interested to know what you think of that. Not the "loin de " bit, since you haven't actually seen it, but the "conventions figées de l'opéra" bit.


Wovon man nicht sprechen kann, darüber muss man schweigen

Dancing Divertimentian

Quote from: Roberto on August 12, 2013, 10:50:50 PM
I've read it many times so I believe you however I have many DG "The Originals" reissue and I find them enjoyable. (I made only one comparsion with the original LP issue: I didn't notice any difference between CD and LP with Pollini's late Beethoven piano sonatas.)

I've generally found DG's (Universal's) solo piano remasterings quite successful, too. In this I agree.

Veit Bach-a baker who found his greatest pleasure in a little cittern which he took with him even into the mill and played while the grinding was going on. In this way he had a chance to have the rhythm drilled into him. And this was the beginning of a musical inclination in his descendants. JS Bach

jochanaan

Quote from: Mandryka on August 13, 2013, 12:54:58 AM
I have no problems with them on this score.

The thing was described on the posters as "Opéra librement adapté par . . " And as I said they called it "une . . "not "la . . ."

The publicity also said  " Une flûte. . . loin des conventions figées de l'opéra" . I'd be interested to know what you think of that. Not the "loin de " bit, since you haven't actually seen it, but the "conventions figées de l'opéra" bit.
That's not bad.  At least any audience that knows French would not expect a literal rendering. 8)
Imagination + discipline = creativity

Waitaminuet

Hello

I was the OP for this thread. my apologies for the delay in responding;but I've been working my way through my newly acquired catalogue.

I spent a number of hours reading all of the recommendations and following posted links before making my selection. Late one night, fuelled by a good malt whisky, I made a number of purchases - some CDs were bought for as little as £0.01.

I've already found that I am revisiting some recordings before listening to all of my purchases - which makes for slow but very enjoyable progress. I will be posting a list of  purchases in due course.

In the meantime thanks to al those who responded to my require for assistance.

Regards

Waitaminuet


jochanaan

Imagination + discipline = creativity

Ken B

Quote from: karlhenning on April 29, 2013, 04:32:19 AM
If you enjoy opera on DVD (half of the opera I consume, is via DVD, YMMV) you might consider these (very different, but both delightful) versions of Die Zauberflöte:

[asin]0780023080[/asin]

[asin]B00A50PBEA[/asin]
Holy cow, I completely missed the Branagh. Danke sehr.