Andras Schiff and Peter Serkin, internationally celebrated and multi-award winning classical soloists, make their New Series debuts with Music for Two Pianos. Regarded as 2 of the greatest pianists of our time, Schiff and Serkin are very seldom heard - as they are here - as piano duo. With this recording, ECM begins a long-term relationship with Andras Schiff, a musician described by Gramophone magazine as "a unique poetic voice among the pianists".
In 2001, when Gunter Wand was an astonishing 89, he led this live concert from Hamburg with his home orchestra, the North German Radio. Wand was a benign (so far as I know) conservative like Josef Krips, happy if his wrld was circumscribed by Mozart, Beethoven, Schubert, and Bruckner, who remained the taples of his repertoire.
A lifelong devotion to Mozart shows through in this genial, quick-moving, sunny reading of the "posthorn" Serenade. The posthorn soloist is fine, the first oboe a bit less so, but everyone's in high spirits. There's not a hint of dullness anywhere, making Wand's one of the best versions outside the period-performance litany. Smiles all around.
Mozart's Requeim is another masterpiece where he unleashes his overwhelming genius, which even his jealous contemporaries could not not find words for other than "divine". At the same time, it is also a subject of great controversy as to how the unfinished portions should have been completed (serious listeners should try to learn more about how Sussmayr completed the work and how his work is criticized). Whatever the case, this is unquestionably one of the greatest works of art ever created by man….
Considering that Mozart's Divertimento in E-flat is far and away the greatest string trio ever written, and one of the unquestionable monuments of chamber music generally, it doesn't get the attention that it surely deserves from either record labels or collectors. Perhaps the dearth of regularly constituted string trios (as opposed to quartets) has something to do with it, but the fact remains that there is no greater testament to Mozart's genius than this epic, nearly 50-minute-long masterpiece in six movements that contains not a second that fails to rise to the highest level of textural gorgeousness and supreme melodic inspiration. Happily, most performances understand how special the music is, and give it their best effort. This one is no exception. The Zimmerman Trio plays with remarkably accurate intonation and a ravishing tone that's also mindful of the Classical style. Schubert's single-movement trio makes the perfect coupling. It seems to grow right out of the Mozart until the end of the exposition, when Schubert suddenly sails in with some typically arresting harmony.
On July 16, 1999, the tenth anniversary of the death of Herbert von Karajan, the Berliner Philharmoniker paid tribute to their late maestro in his home town of Salzburg. In a live shooting from the imposing Salzburg Cathedral, Claudio Abbado conducted an all- Mozart programme, honouring his predecessor both by the careful selection of the music and the singers. The Berliner Philharmoniker, conducted by Claudio Abbado, performed Mozart's Requiem in D minor, KV 626, among other works. Soprano Rachel Harnisch appeared as the soloist on the two complementing arias Betrachte dies mein Herz und frage mich and Laudate Dominum Featuring soprano Karita Mattila, contralto Sara Mingardo, tenor Michael Schade and bass baritone Bryn Terfel as soloists of the Requiem. A performance that in every respect met Karajan's own high artistic standards. Lovingly restored and carefully brought to HD, this unique performance of the Berliner Philharmoniker at Salzburg Cathedral is now finally available on Blu-ray Disc.
The Scottish Chamber Orchestra Ensemble, a group of principal players from the SCO, perform a selection of Mozart's chamber works written for smaller forces. This intimate performance showcases the wealth of talent present in this multi-award-winning orchestra
This interpretation is very emotional and introspective, in turn conveying the intense hurt, the angst, the blind fury, the awe, and the final exaltation that one feels with when one is trying to come to terms with the decisions of the higher power. It felt like Ton Koopman had deliberately steered away from the grand orchestra mode and went with the more individualistic perspective, which was probably the unique twist that made me go back to it again and again. (Amazon customer)
Although Helmut Rilling's tempos are sometimes too plodding (the opening Introitus, for example), he makes up for it elsewhere–in an emphatic Recordare and smoothly flowing Benedictus. And while the chorus has a somewhat saturated, conglomerate sound, its impact is nevertheless substantial, not only in the fullest, loudest sections, but also in the quieter passages, which come off as more evenly balanced. Soloists, on the other hand, are absolutely clear if perhaps just a bit too up-front, and the orchestra, which fares well overall, gets swallowed in the mix when the entire chorus is singing. Rilling requires keen articulation from his players and singers, which although normally a good thing sometimes (as in the opening of the Confutatis) seems overly deliberate and stifles the music's natural momentum. –David Vernier