"Greer is a highly accomplished player of the natural horn… I find Greer's playing very musicianly: unusually graceful in the phrasing of the quick movements, with gentle, thoughtful playing in K417 and some lovely smooth and clear lines in K495, while the slow movements are all beautifully done—the Romance of K447 refined and graceful, that of K495 often truly poetic with happy details of timing. And there is no shortage of wit in the finales, or of high spirits. Greer improvises his cadenzas: in the first movement of K495 he does, rightly I think, simply a longish flourish, with no reference to the themes of the movement." (Stanley Sadie, Gramophone Magazine)
Get ready for the shock of the new , or, in this case, the old. This disc of Beethoven concertos by keyboardist Arthur Schoonderwoerd has a highly unusual sound, even by the standards of the historical-performance movement. Performances of the Beethoven concertos in period style are rarer than those of the sonatas, which are themselves rarer than those of music by Mozart and Haydn. This is partly because the whole issue is more problematical with Beethoven, who was clearly striving toward larger dimensions.
MOZART 111 combines the best of the Austrian master's music with the best of Deutsche Grammophon's Mozart recordings, bringing together a total of 111 works, while retaining, as far as possible, the original album releases with their cover art. There's enough of everything here to stock a shop, as they say, in performances that have stood the test of time and performances that make you sit up and listen to Mozart afresh the perfect way to discover, rediscover and savor the incomparable genius of Wolfgang Amadeus Mozart.
Arthur Schoonderwoerd, one of today's most sought-after interpreters on the fortepiano, presents the fourth part of his complete recording of Mozart's piano concertos on the Accent label with this release of the two early Piano Concertos, KV238 and KV246. As on their previous issues, Schoonderwoerd and his ensemble Cristofori here liberate Mozart's works from traditional 19th-century sound concepts: each string part in the orchestra is played by just one performer; the result is a very slender, transparent sound that supports the solo instrument without ever covering it up.
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.
At the ripe old age of 19 Mozart wrote five violin concertos, and they represent his coming of age as a composer of orchestral music. From here on, it's basically one masterpiece after another. Though not difficult works, technically speaking, they partake in full measure of Mozart's uniquely sensual brand of melody. That means that successful performances must know how to spin out a singing musical line, while at the same time making the most of the rare opportunities for soloistic display.
Never before have all Arthur Rubinstein albums been available together like this. Arthur Rubinstein – The Complete Album Collection features all of the legendary pianist’s issued recordings made by RCA Victor between 1940 and 1976, plus one recording issued on the DECCA label in 1978. Also included in this set are the recordings Rubinstein made in England for the His Master’s Voice (HMV) label between 1928 and 1940. As a bonus, this special package also has the sensational world-premiere release of two Carnegie Hall concerts recorded on December 8 and 10, 1961.
Mozart Double Piano Concertos is Arthur and Lucas Jussen’s first orchestral recording, featuring two of the most famous works composed for two pianos. Ever since they performed for the Dutch queen in 2005 at the ages of just 12 and 8 years old and becoming the first Dutch artists to sign with the historic Yellow Label, Deutsche Grammophon, the Jussen brothers are regarded as something of Dutch national treasures.
Covent Garden’s 2003 production of The Magic Flute , designed by John F. Macfarlane, directed by David McVicar, and conducted by Sir Colin Davis, is magnificent from a strictly musical standpoint. More than that, it’s vastly entertaining. The comedic elements of the story integrate far more comfortably than is often the case with Schikaneder’s high-minded (if vague) theme of a quest for enlightenment, particularly in the second act. Visually, the production is a feast, yet it doesn’t distract from the music. The intention was to maintain an 18th-century feel but to play freely with that aesthetic…