Involving, as it does, three master musicians and a fine chamber orchestra this was never likely to be be other than rewarding. It may not correspond with the ways of playing Mozart at the beginning of the twenty-first century which are fashionable at the beginning of the twenty-first century, but it has virtues – such as high intelligence, sympathy, certainty of purpose, grace, alertness of interplay – which transcend questions of performance practice. Looking at the names of the pianists above, we might be surprised by the presence of Sir Georg Solti, so used are we to thinking of him as a conductor. But the young Solti appeared in public as a pianist from the age of twelve and went on to study piano in Budapest, with Dohnányi and Bartok.
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.
Hours and hours of delicate masterpieces by the Viennese Classical master, Mozart! The Alban Berg Quartet, Markus Wolf (viola) and Alfred Brendel (piano) perform String Quartets K. 387; 421; 458 ("Hunt"); 428; 464; 465 ("Dissonance"); 499 ("Hoffmeister"); 575; 589; 590; 515, and 516, plus String Quintets K. 515 and 516; Piano Concerto K. 414 (arranged for piano and string quartet by Mozart), and Piano Quartet K. 493.
Brendel has now recorded the work three times for the gramophone. At first, on Vox/Turnabout in the early 1960s, he was the brilliant iconoclast before his deeper realization of the work's essentially comic energies. And here I use 'comic' both in the narrow sense of the term (the Diabe/li is, after all, full ofjokes, many of them with the staying-power of the finest Wildean epigrams) and in the broader sense: what Susanne Langer has called, comedy "as an image of human vitality holding its own in the world amid the surprises of unplanned coincidence".
An exclusive artist for the Philips label since 1969, Brendel’s discography is now among the most extensive of any pianist, reflecting a repertoire of solo, chamber and orchestral works by the major composers from the central European tradition from Bach through to Schoenberg.
This 114 CD Edition encompasses his complete discography for Philips and Decca and includes studio albums, live recordings and radio broadcasts. The set is accompanied by a 200-page book featuring a note by Brendel’s personal choice of writer, Misha Donat.
Recorded live in 1983, Alfred Brendel's third go-round with these works drastically improves on his previous Beethoven concerto cycles. He finds a calmer, more direct route to the Emperor Concerto, although the Fourth's first movement is still pock-marked with finicky phrase adjustments that pull focus from the music's poetic arcs. Levine provides sympathetic and alert support, yet is much more than a mere deferential accompanist.
This is a live performance from the Bavarian State Opera of Mozart's last great singspiel, DIE ZAUBERFLOTE (THE MAGIC FLUTE) conducted by Wolfgang Sawallisch. It is my first video of this opera, dating from 1990, and after 15 years of off/on viewing/listening, I am still most impressed with Sawallisch, the Bavarian State Opera Orchestra, singers Araiza, Popp, Brendel, Gruberova, Moll, etc. The sound, even for VHS, is very good, and I've had much pleasure from this video… By Alan Majeska
On the musical side… this is pure Bredel.