Mozart

[Gurn Blanston]

Sorry, one more question. Does this layout mean this was "rediscovered", slotted into the catalogue, then found to be spurious and removed?

Sorry, took a nap... 

No, it is testament to the inconsistency of publishers. The Anh.221 is the format of K1. They elected (properly) not to put it first in the name. K45a is the format of K6 (K1 never has a letter after the number) thus more recent. This one is actually in the correct format, as is the second we discussed (most recent first). it is the first one that is reversed, for no good reason beyond sheer stubbornness  or else ignorance on the part of the publisher. The sequence I gave in my explanation is the correct one for that.  0:)

[Lethevich]

All I can say about these catalogues:



Thanks once again !

[Gurn Blanston]

All I can say about these catalogues:



Thanks once again !

  Yup, I sure as heck didn't learn all, that overnight! And the publishers always take it for granted that you already know it all, so they aren't telling either.


----------------
Listening to:
New York PO / Sinopoli - Resphigi Roman Festivals pt 2

[Florestan]

Newman's catalogue would be much simpler; all works would be labelled thus:

[Title of the work], NBM *


* (Not by Mozart)

[Gurn Blanston]

Newman's catalogue would be much simpler; all works would be labelled thus:

[Title of the work], NBM *


* (Not by Mozart)

True enough, life is simpler for some than for others.

[Elgarian]

I spent most of last week in a hospital ward, scared stiff and in pain after a serious emergency operation. I'd like to put on the record two observations.

1. In these conditions, Elvis was totally useless.
2. Mozart was not. Each night I put one of the piano concertos on repeat, on headphones, and he saw me through. It was Brendel/Marriner - not even HIP versions, and in fact my least favourite! No matter. Wolfie did the trick.

[And why is the 13th concerto regarded by Girdlestone as almost without discernable merit? It seemed like a lifesaver, to me.]

[Gurn Blanston]

I spent most of last week in a hospital ward, scared stiff and in pain after a serious emergency operation. I'd like to put on the record two observations.

1. In these conditions, Elvis was totally useless.
2. Mozart was not. Each night I put one of the piano concertos on repeat, on headphones, and he saw me through. It was Brendel/Marriner - not even HIP versions, and in fact my least favourite! No matter. Wolfie did the trick.

[And why is the 13th concerto regarded by Girdlestone as almost without discernable merit? It seemed like a lifesaver, to me.]

Because Cuthbert is an idjit, that's why.

Sorry to hear you had to spend time in, glad you had Mozart. He saw ME through too, last year. The first things I had up were the fortepiano sonatas by Badura-Skoda. Lifesaver!

[Opus106]

I spent most of last week in a hospital ward, scared stiff and in pain after a serious emergency operation.

Good to have you back, sir.

[Renfield]

Elgarian, good to hear you're alright, considering! In fact, I have listened to Elgar's 2nd symphony a couple of times this week, and your comments on Elgar's psyche (not, in this case, Lully's) were never far from my thoughts.


On topic, to contribute something beyond a cursory comment to this forum, for a change, I also listened to Mozart's symphonies nos. 38-41 by Mackerras and the Scottish Chamber Orchestra again yesterday, after a while since I last did so.




And, with apologies for repeating myself from another thread, I really do feel like this is a reference version for me. Which is a big deal, as I don't generally have reference versions of the standard repertory.

Yet here, it all comes together. The music seems to settle into that aesthetic perfection that people so often trumpet about Mozart's work, which so rarely seems to genuinely show itself (to me) on record. An it's all so alive, somehow!

Listening to the Jupiter, for instance, there's this moment in the first movement where the SCO's strings seem to arc above the orchestra like the arms of Jupiter embracing the world, where it really clicked with me how this symphony got its name.

And the fourth movement is nothing short of breathtaking, like taking in the Parthenon, before it got dirty and gritty and half-blown-apart. Not even Harnoncourt has made me feel this much awe over this movement.


All in all, one minor niggle aside (the opening movement of the 39th felt a bit forced), I can't think of a better, and potentially a more representative recording of these works that I've heard.

To my mind, only Szell, in his very different approach, might compete; but he'd still come second.

[Florestan]

Elgarian, glad to hear you're back safe and sound. Hope you'll recover quick!

[DavidRoss]

I spent most of last week in a hospital ward, scared stiff and in pain after a serious emergency operation. I'd like to put on the record two observations.

1. In these conditions, Elvis was totally useless.
2. Mozart was not. Each night I put one of the piano concertos on repeat, on headphones, and he saw me through. It was Brendel/Marriner - not even HIP versions, and in fact my least favourite! No matter. Wolfie did the trick.

[And why is the 13th concerto regarded by Girdlestone as almost without discernable merit? It seemed like a lifesaver, to me.]

Welcome back, Alan, to the forum and to the living!  Certainly the former--and I suspect the latter, as well--would be diminished without you.

Yep.  Mozart's pretty damned life-affirming.  During my recent hospital stay I tuned into Sibelius (natch!) and Mahler...but Mozart was along, just in case!  (Look for pm.)

[DarkAngel]

On topic, to contribute something beyond a cursory comment to this forum, for a change, I also listened to Mozart's symphonies nos. 38-41 by Mackerras and the Scottish Chamber Orchestra again yesterday, after a while since I last did so.



And, with apologies for repeating myself from another thread, I really do feel like this is a reference version for me. Which is a big deal, as I don't generally have reference versions of the standard repertory.

Yet here, it all comes together. The music seems to settle into that aesthetic perfection that people so often trumpet about Mozart's work, which so rarely seems to genuinely show itself (to me) on record. An it's all so alive, somehow!

Listening to the Jupiter, for instance, there's this moment in the first movement where the SCO's strings seem to arc above the orchestra like the arms of Jupiter embracing the world, where it really clicked with me how this symphony got its name.

And the fourth movement is nothing short of breathtaking, like taking in the Parthenon, before it got dirty and gritty and half-blown-apart. Not even Harnoncourt has made me feel this much awe over this movement.

All in all, one minor niggle aside (the opening movement of the 39th felt a bit forced), I can't think of a better, and potentially a more representative recording of these works that I've heard.

To my mind, only Szell, in his very different approach, might compete; but he'd still come second.

Indeed one of the very best best set of Mozart 38-41 symphonies, my only reservation is the high price of admission on this hybrid SACD from boutique label........sticker shock also for the newest hybrid SACD MacKerras symphonies also with Linn Records (but it will be mine)

[Renfield]

Indeed one of the very best best set of Mozart 38-41 symphonies, my only reservation is the high price of admission on this hybrid SACD from boutique label........sticker shock also for the newest hybrid SACD MacKerras symphonies also with Linn Records (but it will be mine)

MDT currently has the new issue for £10.50; though obviously international shipping is a factor.

[Elgarian]

Because Cuthbert is an idjit, that's why.

Oh! How delicious to see it actually written down like that! Thanks Gurn. Is the other guy - Hutchings, is it? - is he more sensible?

Thanks to you for the good wishes, and also to Navneeth, Renfield, Florestan and Dave.

Certainly there was something mightily companionable about Mozart's whole approach - you know, as if he's saying: 'OK here we are in a miserable bit but don't forget tra-la-la that we can still have a chortle or two at the sheer ridiculousness (serious ridiculousness) of it all, and also have a bit of a weep at the sheer damn beauty of simple things like just these few notes - don't you know?'

[DarkAngel]

MDT currently has the new issue for £10.50; though obviously international shipping is a factor.

WOW......that is great sale price at MDT for a 2CD hybrid set, people should go ahead and get both of the MacKerras 2CD sets while on sale

Elgarian
Welcome back to this mortal coil.......music will sooth the soul

[Scarpia]

MDT currently has the new issue for £10.50; though obviously international shipping is a factor.

MDT shipping to the US is very reasonable, the charged me £1.50 to ship it, which was somewhat less than the VAT, which gets deducted.  Total cost was £10.44 to me.

[Bulldog]

Indeed one of the very best best set of Mozart 38-41 symphonies, my only reservation is the high price of admission on this hybrid SACD from boutique label........sticker shock also for the newest hybrid SACD MacKerras symphonies also with Linn Records (but it will be mine)

I'm curious as to why you consider Linn a boutique label.  By the way, even ArkivMusic has the set for well under $30.

[DarkAngel]

I'm curious as to why you consider Linn a boutique label.  By the way, even ArkivMusic has the set for well under $30.

Small catalog of available recordings, very limited number of places to buy in USA, higher prices usually hybrid SACD.....a boutique label apealling to small market of special buyers

Only two sellers currently at Amazon USA, older 38-41 set only 4 sellers and 2 are from UK

[Bulldog]

Small catalog of available recordings, very limited number of places to buy in USA, higher prices usually hybrid SACD.....a boutique label apealling to small market of special buyers

Okay, but I think that Linn recordings are available at all the major sales sites for classical music.  I've never had any problem acquiring their releases.

[SonicMan46]

I spent most of last week in a hospital ward, scared stiff and in pain after a serious emergency operation. I'd like to put on the record two observations.

1. In these conditions, Elvis was totally useless.
2. Mozart was not. Each night I put one of the piano concertos on repeat, on headphones, and he saw me through. It was Brendel/Marriner - not even HIP versions, and in fact my least favourite! No matter. Wolfie did the trick.

[And why is the 13th concerto regarded by Girdlestone as almost without discernable merit? It seemed like a lifesaver, to me.]

Elgarian - don't believe that I've even joined this thread (NOT sure why!) - but I wish you the best for your recovery from recent surgery - not sure 'what' the problem may have been, but wish you the best! 

Dave