The band's sound combined with Nitzsche's timeless production style, which combined with that voice to create a purer rock & roll noise than even Bruce Springsteen's in 1981. The evidence is on the anthems "Maybe Tomorrow," the slippery doo-wop feel of "Love and Emotion," and the devastating read of Arthur Alexander's "You Better Move On" that includes in its soulful Spanish stroll mix a pair of marimbas and the ever-lamenting accordion, turning the track into something that is so deadly serious it should have perhaps been in West Side Story. This was Mink DeVille near their zenith as a recording unit.
Mozart's Sinfonia Concertante for violin, viola, and orchestra is one of his greatest masterpieces. It was a joy and an honour to record Mozart's Sinfonia Concertante.
Dittersdorf Symphony Concertante in D major for viola and double bass written circa 1775. The viola and the double bass are certainly the two most unreasonably neglected soloists among the orchestral strings; to pair them in a sinfonia concertante may well in the first place have been a charitable idea on Dittersdorf's part.
One hates to admit it, but at this point in his career, pianist Maurizio Pollini is no longer a Mozart player. Although a supreme virtuoso, a passionate intellectual, and a consummate artist, Pollini has grown too brilliant, too intense, and too calculating for Mozart. Pollini's tone is crystalline, his textures are transparent and his tempos are perfect in this breathtaking 2005 recording of the G major and C major piano concertos, but it all seems too cold and too objective. Although he is also directing the Wiener Philharmoniker from the piano, this doesn't seem to encumber Pollini's virtuosity in any way; indeed, he appears to enjoy the challenge, audibly coaxing more force from the musicians' playing.
The contents of the EMI box are too numerous to list but all the sonatas, variations, and most short pieces are here: absent is the London Sketchbook, which is trite juvenalia.
The Haffner Serenade in D major was written in 1776 for Marie Elizabeth Haffner's wedding celebration and was commissioned by her brother Sigmund, later the recipient of the Haffner Symphony. Though this composition has elements of Mozart's symphonic style – particularly in its dramatic first and last movements, the grand Menuettos, and the sixth movement Andante – it is cast in eight movements of diverse character and has a casual ambience that belongs to the serenade. The violin solos in the second, third, and fourth movements lend a concertante air to this work, though they have a private quality unlike the bravura displays of the concerto style…