For her fifth live recording of Wolfgang Amadeus Mozart's piano concertos with the Cleveland Orchestra, Mitsuko Uchida presents the Piano Concerto No. 17 in G major, K 453, and the Piano Concerto No. 25 in C major, K 503, a delightful pairing that reflects her previous albums in this critically acclaimed series on Decca.
Every major conductor, and most not-so-major ones, comes around to recording Eine kleine Nachtmusik, but not so many do it as well as George Szell and the Cleveland Orchestra strings. And let’s face it, you won’t find a period-instrument ensemble that plays with anything like this level of polish. The fact is, Szell’s conception of Mozart was not terribly far from “period” sensibilities: restrained use of vibrato, incisive rhythms, crisp ensemble, lively tempos, but also a welcome degree of warmth to the sound and of course incredible ensemble discipline and some of the best players on the planet. And he had real period instruments, meaning performers who owned top quality old violins and bows, not inferior modern reproductions of them. The result is as lovely a performance of Mozart’s perennially delicious Serenade as we are ever likely to hear.
"This is a terrifically exciting performance of Orff's popular chestnut. Tempos are swift, from the opening "O fortuna" onward. The soloists are uniformly excellent, especially Judith Blegen, whose "In trutina" remains one of the most beautiful ever recorded. (…) In sum–an unusual and extreme rendition, really well done." ~ClassicsToday
This is the best Boulez recording in quite a while. He offers the canonic 12 Wunderhorn songs, meaning no Urlicht and no Das himmlische Leben in the original orchestration before it became the finale of the Fourth Symphony. You won't miss them. None of the songs are done as duets, and you won't be bothered by that either. The singing is exceptional: Magdalena Kozená combines a sweet timbre with plenty of personality and attention to the words; Christian Gerhaher's light, somewhat grainy baritone may not be to all tastes, but his unfailing musicality and his gusto (singing but never shouting) in the big "military" songs carries the day.
George Szell's Dvorák performances feature his customary blend of razor sharp orchestral discipline allied to a wholly idiomatic, singing line. Even more interesting, he takes numerous liberties with Dvorák's orchestration in the Seventh Symphony, reinforcing the violins and woodwinds with horns at several points in the outer movements.