Born in Brussels, Belgium, but raised in Israel, pianist Edna Stern began taking lessons at age 6 and became a student of Viktor Derevenko at the Rubin Academy in Tel Aviv. After a return to Brussels, Stern worked with Martha Argerich, then moved to Basel in 1996 to study with Krystian Zimerman. Attendance at master classes led by Alicia de Larrocha, Andreas Staier, and Leon Fleisher at the International Piano Foundation inspired to her to follow Fleisher to the Peabody Institute…
Listening to this work so soon after hearing Zauberflote one is amazed anew that Mozart could write two such totally contrasted pieces within months of each other. Here, in the composer's last opera seria, we are in another world, one of formality tempered by the deep emotions engendered by love and jealousy. Instead of birdcatchers and Masonic rights we are dealing with historic figures in a supposedly historic context with down-to-earth feelings. For each Mozart finds precisely the appropriate music.
A Guide to Period Instruments: 200 pages full colour book + 8 CDs. Languages: French/English/German. This Guide to Period Instruments endeavours to answer the questions that every lover of early music has about the instruments used in these periods of music history. Text and recorded excerpts describe the origin and the development of every musical instrument from the Middle Ages to the end of the 18th century and place them in their historical context. There is a completely new presentation booklet, over 200 pages long and abundantly illustrated, as well as eight CDs of recorded examples of the instruments that shed new light upon major periods of music history.
Following on their highly acclaimed debut album, the period instrument Chiaroscuro Quartet returns with another recording of chamber music of the classical period. Their approach, firmly committed and imaginative, fits particularly well with the trail-blazing works on this recording. In its day, Beethoven's famous ''Serioso'' quartet was considered avant-garde and experimental. Mozart's Adagio and Fugue is a veritable lesson in the art of counterpoint - rich with dissonance and brilliant in its subtle complexity and inventiveness.
Trevor Pinnock's set of Mozart symphonies, recorded between 1992 and early 1995, was greeted warmly upon its release in three separate volumes (the last volume typically never made it to U.S. shores as a domestic release) and Universal has seen fit to re-issue it in an 11-CD box as part of its Collectors Edition series. While the general public honed its "historically informed" ear on the pioneering compilation set by Christopher Hogwood and the Academy of Ancient Music in the mid-1980s, Pinnock's later account, the second such to use period instruments, showed just how much more refined and skillful period-instrument playing was to become.
Mozart's greatest symphonies in classic performances by Karl Böhm and the Wiener Philharmoniker.
Böhm’s Mozart as experienced in these precious films is marked by youthful vigour and directness, as well as a lack of pathos and sentimentality. Every reading glows with profound love and understanding.
“Thanks to Bruno Walter’s exemplary performances, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart.” – Karl Böhm
The present recording of the Piano Concertos KV 466 & 467 is the starting point for the complete collection of Mozart piano concertos to be issued by the label Accent. Arthur Schoonderwoerd, in great demand as a hammerklavier performer, and his ensemble Cristofori play on authentic instruments of the period or modern reproductions. The string parts in the orchestral accompaniment are played by only one musician per part, producing a slender, transparent tone which supports the hammerklavier without ever dominating its fine tone.
“This is unquestionably the most vital and authentic account of Idomeneo to date on disc. We have here what was given at the work's first performance in Munich plus, in appendices, what Mozart wanted, or was forced, to cut before that premiere and the alternative versions of certain passages, so that various combinations of the piece can be programmed by the listener. Gardiner's direct, dramatic conducting catches ideally the agony of Idomeneo's terrible predicament – forced to sacrifice his son because of an unwise row. This torment of the soul is also entirely conveyed by Anthony Rolfe Johnson in the title role to which Anne Sofie von Otter's moving Idamante is an apt foil. Sylvia McNair is a diaphanous, pure-voiced Ilia, Hillevi Martinpelto a properly fiery, sharp-edged Elettra.