Mozart

The Mozarteum's website:

mozarteum.at/en/home/#research-section

Mozart was the embodiment of musical perfection. He never ceases to satisfy and amaze. His works contain contrasts of emotional depth and beauty that are unmatched in all of classical music. Such variety -- opera, sonatas, concerti, symphonies, chamber, and choral works. Spanning all possible varieties of musical instruments (except for cello - Mozart never wrote anything for cello). And there's not a glaring weakness in his middle/mature works in any of these genres. Mozart defies explanation. "Genius" doesn't come close to defining him. True, he made it look so effortless. His manuscripts are pristine -- hardly a scratched-out line -- like they were copied. Apparently, Mozart had it all in his head, it was merely a mundane, trivial task to write it all down (unlike Beethoven's messy manuscripts, which show his mental struggles with composition). Still, there is always something ephemeral in Mozart's music, timeless and inimitable. Like a comet, Mozart appeared too briefly in our world. But his music endures to thrill, soothe, and enchant us forever. Interestingly, Mozart's middle name was Theophilus, which is Greek for "beloved of God".

Here are my "desert island" recordings for this most sublime of all composers.

• • Mozart, Piano Concerti. Jewels in the piano concerto literature. Here are my favs.

    • Geza Anda, Camerata Academica Salzburger Mozarteum (1960s, Complete, DG). Anda plays (and conducts) Mozart's concerti with a sunny, highly musical disposition, with cadenzas that are creative. His #21 is legendary and perhaps overplayed. Can't go wrong with an orchestra based in Mozart's birthplace, can you? These are magisterial readings.

    • Murray Perahia, English Chamber Orchestra (1976-85, Complete, Sony). Sublime. Texture is palpable and delicacy placed where needed, with a slight touch of romanticism in some pieces. Interesting to compare with Brendel's recordings. Both are highly musical, sensitive Mozarteans, with Brendel a touch more intellectual, while still revealing the emotional edges. Sony's recordings are warm, vivid, and detailed.

    • Mitsuko Uchida, English Chamber Orchestra (cond. Jeffrey Tate). Philips #9, 14, 15, 17, 18, 20-21, Rondo K.382. Magisterial perfs by Uchida and the ECO. Interesting to compare to Perahia's recordings with the ECO. Depth, delicacy, and clarity are hallmarks of both pianists, so it's really hard to pick a clear "winner" here.

    • Robert Casadesus, Cleveland Orchestra (George Szell) (1959-68, Sony). Casadesus and Szell have a chemistry that works well, in concerti #20-24, 27. Allegros are energetic, with elegance in the slow movements. Sony's remastering is startlingly transparent and clea

Concerto #7 is for three (or two) pianos, #10 for 2 pianos. This leaves 21 original concertos for one piano.

• No. 5 in D major, K. 175 (December 1773)

• No. 6 in B-flat major, K. 238 (January 1776)

• No. 7 in F major, K. 242 for three pianos (February 1776)

• No. 8 in C major, K. 246 (April 1776)

• No. 9 in E-flat major, K. 271 (January 1777)

• No. 10 in E-flat major, K. 365/316a for two pianos (1779)

• No. 11 in F major, K. 413/387a (1782–1783)

• No. 12 in A major, K. 414/385p (1782)

• No. 13 in C major, K. 415/387b (1782–1783)

• No. 14 in E-flat major, K. 449 (9 February 1784)

• No. 15 in B-flat major, K. 450 (15 March 1784)

• No. 16 in D major, K. 451 (22 March 1784)

• No. 17 in G major, K. 453 (12 April 1784)

• No. 18 in B-flat major, K. 456 (30 September 1784)

• No. 19 in F major, K. 459 (11 December 1784)

• No. 20 in D minor, K. 466 (10 February 1785)

• No. 21 in C major, K. 467 (9 March 1785)

• No. 22 in E-flat major, K. 482 (16 December 1785)

• No. 23 in A major, K. 488 (2 March 1786)

• No. 24 in C minor, K. 491 (24 March 1786)

• No. 25 in C major, K. 503 (4 December 1786)

• No. 26 in D major, K. 537 (24 February 1788)

• No. 27 in B-flat major, K. 595 (5 January 1791)

  • Mozart, Symphonies. Here are my favs. Astoundingly musical, compelling renditions.

    • Karl Bohm, Berlin Philharmonic (DG, 1959-69). Symphs 36, 39-41. from complete set. The first complete cycle of Mozart symphonies recorded, from a protean Mozart conductor. Very clear sound for its vintage, strings are a tad bit "dry", but still very musical.

  • Leonard Bernstein, Vienna Philharmonic (DG). Symphs 35, 38-41. Foot-stomping musicality, with deep sonorities in the strings and dynamic tempos. #41 is stupendous.

    • Colin Davis, Staatskapelle Dresden (Philips, 1981-91). Sym 28-41. The set I go to. Flexible tempi from Davis, an experienced Mozartian. The Dresdeners do this music like probably no other group. Darker, fuller, richer sound than Bohm's set. Highly recommended.

    • James Levine, Vienna Philharmonic (DG, 1986-90). The only complete cycle of Mozart's symphs by the VPO and Levine was their choice to do the cycle. Nothing revolutionary but the string texturing, tonalities, and cadences keep me listening. The recordings are excellent, full-bodied, capturing the rich content of these pieces.

    • George Szell, Cleveland Orchestra (Sony,1960s). Symph 35, 40-41. References for these 3 sublime symphonies. Szell provides the perfect touches, on a full orchestra. A must.

• • Mozart, Piano Sonatas. Here are my fav sets. No particular order.

    • Claudio Arrau. A bit darker in mood than more commonly heard.

    • Mitsuko Uchida. A reference set.

    • Maria Joao Pires. An embarrassment of riches.

    • Christoph Eschenbach. Under-rated but very musical.

    • Walter Klien. Gives a Viennese flavor to these pieces.

• Piano Sonata No. 1 in C major, K. 279 (Munich, Summer 1774)

• Piano Sonata No. 2 in F major, K. 280 (Munich, Summer 1774)

• Piano Sonata No. 3 in B-flat major, K. 281 (Munich, early 1775) ^[2]

• Piano Sonata No. 4 in E-flat major, K. 282 (Munich, Summer 1774)

• Piano Sonata No. 5 in G major, K. 283 (Munich, Summer 1774)

• Piano Sonata No. 6 in D major, K. 284 (Munich, February–March 1775)

• Piano Sonata No. 7 in C major, K. 309 (Mannheim, Nov. 8 1777)

• Piano Sonata No. 8 in A minor, K. 310 (Paris, Summer 1778)

• Piano Sonata No. 9 in D major, K. 311 (Mannheim, Nov 1777)

• Piano Sonata No. 10 in C major, K. 330 (1782)

• Piano Sonata No. 11 in A major, K. 331 (1783)

• Piano Sonata No. 12 in F major, K. 332 (1783)

• Piano Sonata No. 13 in B-flat major, K. 333 (1783)

• Piano Sonata No. 14 in C minor, K. 457 (Vienna, Oct. 14, 1784)

• Piano Sonata No. 15 in F major, K. 533/494 (Vienna, Jan. 3, 1788)

• Piano Sonata No. 16 in C major, K. 545 (facile or semplice sonata; Vienna, Jun. 26, 1788)

• Piano Sonata No. 17 in B-flat major, K. 570 (Vienna, February, 1789)

• Piano Sonata No. 18 in D major, K. 576 (Vienna, July 1789)

Piano four-hands

• Sonata for Keyboard Four-hands in C major, K. 19d (London, May 1765)

• Sonata for Keyboard Four-hands in D major, K. 381 / 123a

• Sonata for Keyboard Four-hands in B-flat major, K. 358 / 186c

• Sonata for Keyboard Four-hands in F major, K. 497

• Sonata for Keyboard Four-hands in C major, K. 521

• Sonata for Keyboard Four-hands in G major, K. 357 (incomplete)

Two pianos

• Sonata for Two Pianos in D major, K. 448 / 375a

Mozart's String Quartets:

The Complete String Quartets. Amadeus Qt (mid-'60s, DG); Qt Italiano (Philips).

• String Quartet No. 1 (Mozart)

• String Quartet No. 2 (Mozart)

• Milanese Quartets (Mozart)

• Viennese Quartets (Mozart)

• String Quartet No. 14 (Mozart)

• String Quartet No. 15 (Mozart)

• String Quartet No. 16 (Mozart)

• String Quartet No. 17 (Mozart)

• String Quartet No. 18 (Mozart)

• String Quartet No. 19 (Mozart)

• String Quartet No. 20 (Mozart)

• String Quartet No. 21 (Mozart)

• String Quartet No. 22 (Mozart)

• String Quartet No. 23 (Mozart)

• Haydn Quartets (Mozart)

• Prussian Quartets (Mozart)

Other recordings:

BPO = Berlin Phil Orch; LSO = London Symph.; VPO = Vienna Phil.

• • The Piano Trios. Beaux Arts (Philips).

  • The Complete String Quartets. Amadeus Qt (mid-'60s, DG); Quartetto Italiano (Philips).

  • The Early String Quartets. Talich Qt (Calliope).

  • The Complete String Quintets. Grumiaux

  • The Complete Wind Concertos. Hager, Mozarteum Orch Salzburg.

  • Kronungsmesse K.317, James Levine, BPO (DG).

  • Requiem. Giulini/Philharmonia; Pearlman/Boston Baroque.

  • Symph 40-41. Bernstein/VPO.

  • Symph 35,38. Bernstein/VPO; Walter/Columbia.

  • "Posthorn" Serenade K.320. Mackerras/Prague.

  • The Violin Concerti, #1,2,4 Grumiaux/Davis LSO; #3,5 Mutter, Karajan BPO.

  • Piano Conc. K.365, for 2 pianos. Emil and Elena Gilels. Bohm, VPO

  • Don Giovanni. Wachter/Sutherland/Schwarzkopf. Giulini, Philharmonia ('59).

  • Die Zauberflote. Janowitz/Gedda/Popp. Klemperer, Philharmonia ('64).

  • Cosi Fan Tutte. Janowitz, Fischer-Dieskau. Bohm, VPO. ('72).