Mozart: Symphonies 40 & 41

1. Symphony No. 40 in G minor, K. 550
Composed by Wolfgang Amadeus Mozart
Performed by Salzburg Festival Orchestra
2. Symphony No. 41 in C major ("Jupiter"), K. 551
Composed by Wolfgang Amadeus Mozart
Performed by Salzburg Festival Orchestra

Tracks:

Canon In D
'Brandenburg' Concerto No. 3: Allegro
The Four Seasons - The Winter: Largo And Allegro
Fanfare ('Masterpiece Theatre' Theme)
Camerata Romana: Air For The 'G' String
'Eine kleine Nachtmusik': Allegro
Piano Concerto No. 21 ('Elvira Madigan' Theme): Andante
Introduction To Symphony No. 5
'William Tell' Overture: Finale
'Aida': Triumphal March
On The Beautiful, Blue Danube Waltz
'The Nutcracker': Waltz Of The Flowers
'1812' Overture: Finale

Tracks:

Sabre Dance
'Light Cavalry' Overture: Finale
Carmen: The Toreadors
' Midsummer Night's Dream': Wedding March
Radetzky March
Symphony No. 9, 'Choral': Finale
'Prince Igor': Polovstian Dance No. 17
Jesu, Joy Of Man's Desiring
Peer Gynt: Solveig's Song
Sleepers, Wake
Water Music: Hornpipe
Symphony No. 9, 'From The New World': Largo
Emperor Waltz
'Emperor' Quartet: St. Anthony's Chorale
'The Tales Of Hoffman': Barcarolle
L'Arlesienne: Farandole
'The Nutcracker': Dance Of The Mirlitons
'The Nutcracker': Dance Of The Sugar-Plum Fairy
'Rhapsody In Blue': Highlight
'Orpheus In The Underworld': Can-Can

Tracks:

Introduction To 'Also sprach Zarathustra'
Symphony No. 4, 'Italian': Saltarello: Presto
Piano Concerto No. 20: Romance
'The Valkyrie': Ride Of The Valkyries
'The Four Seasons' - The Spring: Allegro
Toccata and Fugue
Trumpet Voluntary
'Royal Fireworks Music': la rejouissance: Allegro
'Moonlight' Sonata: Adagio Sostenuto
London Festival Orchestra: Overture To 'The Barber Of Seville'
Piano Concerto No. 2: Adagio Sostenuto

Tracks:

Carmina Burana: Introduction To 'Carmina Burana'
Peer Gynt: Dawn From 'Peer Gynt'
Lohengrin: Prelude To 'Lohengrin'
'Lieutenant Kije': Troika From 'Lieutenant Kije'
Adiago For Strings
'Carmen': Habanera From 'Carmen'
'Double' Concerto: Allegro From 'Double' Concerto
The Marriage Of Figaro: Overture To 'The Marriage Of Figaro'
(Rondo) Alla Turca
Xerxes: Largo From 'Xerxes'
Symphony No. 5: Allegro vivace From Symphony No. 5
'Swan Lake': Scene: Enchanted Lake From 'Swan Lake'
Clair De Lune
Bolero

Customer Reviews:

CD set is misnamed.......2007-06-08

They should have titled this "classical music for people who love classical music" because most of the selections are typical classical music. The title suggests it would be lively selections of "light classical" music that is more upbeat, i.e. Sabre Dance, etc. I really don't hate classical music at all and have many classical CDs in my collection but I really wanted to hear more exciting selections. I won't be purchasing any more of this set but if you like traditional classical music these are good one.

Do not Buy.......2007-02-21

I do know it says classical music for people who hate it, but serioulsly you would have better luck never listening to classical music again. The recordings are awfull and do not do justice to any of the composers. Buy something else.

Classical Music for People Who Hate Classical Music.......2007-01-30

We love this set of CD's. I just got a new copy because my kids keeping taking our first copy with them so that they can listen at work or in their bedrooms but then I can never find them.

Seek better versions.......2006-12-09

If you are fairly new to classical purchases then compilation CD's can be useful for deciding what to buy next. Sometimes you only need a small taste of a piece to inspire you to buy a release with the whole performance on. The problem with this compilation however is that most of the versions are poor in performance or recording quality (or both) when compared to the best versions and the fact that the conductors aren't even credited on the track listing made me suspect that this would be the case. One of my favorite classical pieces is Tchaikovsky's 1812 festival overture but if the first CD version I had heard had been the finale excerpt that is on this compilation I may not have gone on to buy the whole thing. Luckily I heard Adrian Leaper's version first and Adrian's version is rather good.
My classical CD buying experience is limited to only a couple of dozen discs but I have found that the Naxos and Deutshe Grammophon releases are fairly safe. Avoid any release which does not name the conductors on the track listing or sleeve notes.

It Is What It Is.......2006-10-27

It's fitting that this page is fraught with the same kind of silly snobbery that turns people off from classical music (and necessitates collections like this) in the first place.

Any criticism of this compilation, which focuses on the quality of the performances or the fact that many tracks are excerpts, misses the point. This is not a collection for people who consider such things, nor does it purport to be. The idea is to package as many ultra-famous classical melodies as possible in one affordable collection and market it to people who have never purchased a classical recording. As such, top-tier performances are likely too expensive to be sold so cheaply and are unnecessary anyway. Those of us who already know and love a piece or two can forgive the compilers the inclusion of sub-par recordings, when we are exposed to so many other beautiful pieces for the first time.

It probably comes as a shock for some to hear that most people are not familiar with these classics. We may hear snippets on TV or movies, but are left with no idea as to the composer or historical context. With that in mind, it is extremely intimidating to begin buying classical. I suppose those among us, who so thoroughly dismissed the very notion of a boxed set like this, would have us begin by buying full albums by reputable interpreters. Surprisingly enough though, the majority of people would consider that a tad cost-prohibitive.

To conclude, this is a STARTER collection. It will either affirm a listener's feelings about classical music or lead to an interest in purchasing better recordings. Ideally, I suppose the interpretations would be better, but, for reasons mentioned above, that just isn't in the cards for a collection of this nature. If you're familiar with 50 different recordings of "The Ring" series, or have season tickets to the New York Philharmonic, then this probably isn't for you. For us cretins with limited foreknowledge of classical music though, it serves as a succinct introduction with little to complain about.

Best of the Millennium: Top 40 Classical Hits

Average customer rating:

Waste of money
Great Music Compilation
If you like classical music don't buy this CD.
A must for anyone wanting the staples of classical music
A great compilation

Best of the Millennium: Top 40 Classical Hits

Manufacturer: Utv Records
ProductGroup: Music
Binding: Audio CD

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Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

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The Most Relaxing Classical Album in the World...Ever!
Classical Music for People Who Hate Classical Music
25 Classical Favorites
The Most Relaxing Classical Music in the Universe
The Most Relaxing Classical Album In the World Ever, Volume II

ASIN: B00004GOZA
Release Date: 2000-02-08

Tracks:

Adagio In G Minor
Jesu, Joy OF Man's Desiring
Moonlight Sonata - Adagio sostenuto
March Of The Toreadors (Carmen)
Celebrated Minuet
Polovtsian Dance No. 1 (Prince Igor)
Cradle Song
'Minute' Waltz
Suite Bergamasque: Clair de Lune
Largo
Pomp And Circumstance March No. 1
Rhapsody In Blue - Andante And Finale
Peer Gynt Suite: Morning
Messiah: Hallelujah Chorus
Liebestraum
Cavalleria Rusticana: Intermezzo
A Midsummer Night's Dream: Wedding March
'Masterpiece Theater' Theme: Rondau (First Symphonic Suite)
The Great Gate Of Kiev

Tracks:

Eine klein Nachtmusik - Allegro: Eine kleine Nachtmusik - Allegro
Orpheus In The Underworld: Cancan
Carmina Burana - O Fortuna
Canon In D
Lietenant Kije Suite - Troika
Turandot: Nessun dorma
Rhapsody On A Theme Of Paganini - 18th Variation: Rhapsody On A Theme Of Paganini- 18th Variation
Bolero - Conclusion
The Tale Of Czar Sultan: Flight Of The Bumblebee
William Tell Overture - Finale
Carnival Of The Animals: The Swan
Gymnopedie No. 3
Ave Maria
Blue Danube Waltz
Thus Spake Zarathustra - Sunrise
Firebird Suite - Finale
1812 Overture - Finale: 1812 Overtune - Finale
Fantasia On 'Greensleeves'
Anvil Chorus (II Trovatore)
The Four Seasons - Largo From 'Winter'
Die Walkure: Ride Of The Valkyries

Amazon.com

For those who want the most remembered passages of classical music's best-loved works, here's a package for you. On this bargain priced double-CD, you'll find music from 40 different classical composers; for the most part, the recordings excerpted here are some of the very best. Of course, you only get one Bach sampling (Jesu, Joy of Man's Desiring, played by the Orpheus Chamber Orchestra) and one Mozart (A Little Night Music conducted by Herbert von Karajan), but this is still a nice collection--perhaps the starting point for a budding collection of classical music. This set's downfall? Unfortunately, though the liner notes discuss the evolution of classical music chronologically, the tracks are programmed in alphabetical order by composer's last name. This makes for some startling transitions! Emil Gilels's reflective performance of the Adagio from Beethoven's "Moonlight" sonata is followed by the crashing cymbals and bombast of Carmen's "March of the Toreadors," a recipe for a heart attack if there ever was one. Still, there's something here for everyone and the liner notes even explain what movies this music can be found in. A nice touch. --Jason Verlinde

Customer Reviews:

Waste of money.......2006-01-12

Watch out for the volume leveling mentioned in another review. Surely the compliers could have come up with a better sort order than by composer. The change in tempo/volume between pieces makes it impossible to enjoy. My two CD's ended up in the trash.

Ken

Great Music Compilation.......2005-08-15

This is a great CD full of many songs that you will recognize and enjoy. If you are someone who likes classical music but doesn't necessarily know which songs or which composers you like, then this CD is for you. You will likely recognize many of the songs as the classical songs you would have picked out to be your favorites.

If you like classical music don't buy this CD........2005-03-11

Most of the tracks were chopped down to 3-4 minutes so some of the best parts of the compositions are missing. I don't know what I was thinking trying to buy 40 classical songs on two CD's. If you really want to enjoy the music you would do better to purchase a CD with fewer, but better quality tracks.

A must for anyone wanting the staples of classical music.......2005-02-23

In my years of experience teaching Fine Arts to high school students, I know that the majority, if not all, of the music included on this album is commonly used in collge music appreciation courses. This is an excellent sample of truly all the "greatest hits" of classical music. My students enjoy listening to the music and have later told me when take their required music apreciation courses in college that they "already know it all" because of this CD! The recordings are clear, the selections are passionate, and the listener will gain a familiarity with all of the most commonly heard classical music used in tv commercials, movies, etc.
I recommend this album, along with the boxed set, "Age of the Classics" for anyone who is interested in becoming familiar with the most famous staples of classical music.

A great compilation.......2005-02-09

This cd somes up some of the greatest pieces of instrumental (and is some cases choral) music ever written. It is a great starter for a beginning classical music lover or a quick and easy all-in-one for those of us who study classical music for a living. I highly recommend this cd to anyone who wants to love or already does love classical music.

Average customer rating:

NONE FINER!
Excellent readings of the last six symphonies...
Radiant performances!
Wonderful Sound Quality and Precision
Other than Bruno Walter's

Mozart: Symphonies Nos. 35-41

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Beethoven: Symphony No. 9 / Karajan, Berlin Philharmonic Orchestra

ASIN: B000001GQB
Release Date: 1996-01-23

Tracks:

Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Allegro Con Spirito
Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': (Andante)
Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Menuetto - Trio
Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Finale. Presto
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Adagio - Allegro Spiritoso
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Andante
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Menuetto - Trio
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Presto
Symphonie No. 38 - Dur KV 504 'Prager Symphonie': Adagio - Allegro
Symphonie No. 38 - Dur KV 504 'Prager Symphonie': Andante
Symphonie No. 38 - Dur KV 504 'Prager Symphonie': (Finale.) Presto

Tracks:

Symphonie No. 39 Es-dur KV 543: Adagio - Allegro
Symphonie No. 39 Es-dur KV 543: Andante Con Moto
Symphonie No. 39 Es-dur KV 543: Menuetto. Allegretto - Trio
Symphonie No. 39 Es-dur KV 543: Finale. Allegro
Symphonie No. 40 g-moll KV 550: Molto Allegro
Symphonie No. 40 g-moll KV 550: Andante
Symphonie No. 40 g-moll KV 550: Menuetto. Allegretto - Trio
Symphonie No. 40 g-moll KV 550: Allegro Assai
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Allegro Vivace
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Andante Cantabile
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Menuetto. Allegretto - Trio
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Molto Allegro

Amazon.com essential recording

Karl Bohm was one of this century's great Mozart conductors--a fact that's apt to be forgotten in the flood of authentic instrument productions, many of them on DG's associated labels. He conducted Mozart with real love and affection, maintaining moderate tempos, allowing each work's gorgeous melodies a chance to sing and breathe. Mozart's symphonic music has its roots in the opera house, and so did Bohm. Listening to the witty woodwind interjections in the finale of Symphony No. 39, for example, you can readily imagine the witty exchanges of different characters in one of Mozart's comic operas. These beautifully recorded versions of Mozart's greatest symphonies belong in the collection of every fan of the composer. --David Hurwitz

Customer Reviews:

NONE FINER!.......2007-07-19

In the WHOLE recorded field of Mozart late symphonies, NONE shine like these. Karl Bohm, undoubtedly, ranks supreme as the finest Mozart interpreter of "our" generation. He simply KNEW, and HAD A WAY, with this music that remains unparalleled. And the Berlin, well, they, too, certainly can work their way through these scores like no other ensemble...likely because of the great master leading them here.

I originally had these on LP back in the 60's, and literally wore the set out, replacing it years later. Then, of course, with it's initial release on cd I repurchased it, but found it "shrill" to my ears. This new remastering is simply stunning, and first rate. Thanks DG (or Universal) for your loving care and attention in this re-release mastering.

Simply stated, this set of the final symphonies of Mozart, under Bohm, BELONG in EVERY COLLECTION as a cornerstone. Should you doubt me, please read on among the other reviews here, and be convinced. ~operabruin

Excellent readings of the last six symphonies..........2007-03-09

I was listening to these again last night and I have to say, Bohm knows his Mozart. Then again, so does the Berlin Philharmonic. Bohm always seems to pick the right tempo, never too fast but not too slow either. The perfect example is the opening of the 39th, where Bohm revels in creating a big engulfing sound during the slow introduction; however as soon as the allegro kicks in, tempi and tones have a spring in their step. For me, this is one of the great versions of the 39th, even in spite of a few sloppy moments in the latter movements. He submits an excellent 35th and 36th, again with moderate tempi but wonderfully Mozartean phrasing, somewhat surprising since when Bohm recorded these, "Period Instruments" weren't even a twinkle in Harnoncourt's eye, and "Romantic" readings were all the rage for Mozart. Bohm's steadiness with these interpretations is only matched by his ear for detail; better, say, than Marriner, who is unquestionably steady, but whose readings lack spontenaity, and more consistent than Szell, whose 40th is one of the great readings, but whose 39th falls flat and whose brass/woodwinds can't handle their increased role in the Jupiter symphony.
Considering the age of these recordings (early- to mid-60s), they also sound remarkably clean and clear, and all of the parts can easily be heard; although I would credit Bohm with some of this as he was always excellent at creating space and keeping all of Mozart's many layers exposed to the listener. I have a number of different accounts of Mozart's last six symphonies (Marriner, Bernstein, Karajan, Szell 35, 39-41, Mackerras), but pound for pound, this one is the best. If you still aren't happy with the versions you own, this set may be your stopping point.

Radiant performances!.......2007-02-03

The Symphony No. 41 in C major Kv 551 best known as Jupiter retakes and maintains the most representative epic spirit of Mozart like any one Symphony. It breaths liberty, Dionysian pleasure and that essential rapture so common in the masterpieces. And under Bohm's baton exudates full aristocratic sound.

In spite of the fact it has been recorded so many times, just a few directors have been able to extract and carve in relief the majestic splendor of this K.

On the other hand the version of the 38th Symphony is simply majestic and radiant. Bohm never abuses of excess of elegance and his pristine lyricism may be easily realized.

Karl Bohm was indeed, one of the most representative Ambassadors of the Mozart symphonic repertoire. The Berlin Philharmonic, fortunately still maintained the noble sound inherited from Furtwangler and then Fricsay and that was a decisive fact to his favor.

Wonderful Sound Quality and Precision .......2006-03-24

Precision. That is what comes to my mind when listening to a Karl Bohm interpretation of Mozart. Mozart's final symphonies are ageless masterpieces of music. Anyone can recognize the opening Allegro moto of Symphony No. 40 in G-Minor (one of Mozart's only symphonies in a minor key). Just finding a collection with these wonderful symphonies is a great find.

As to the sound quality, Deutsch Gramophone spent extra time and resources into reissuing these originally analog recordings. It is nice to be able to hear every woodwind in balance and the string sections in their glory. The sound does not seem forced or artificial and the quality is absolutely superb.

These recordings were completed during the height of Bohm's time as a conductor. His interpretations are truly "viennese" in that tempos and structure are very precise and meticulous. Some may think his tempi are slow or plodding, but they offer a very nice interpretation that perhaps was accepted in Mozart's era. The 35th, 39th, and 41st symponies in the set are my favorites.

I would also suggest looking at George Szell's performances with the Cleveland Orchestra, for they offer a different interpretation but are also superb.

Other than Bruno Walter's.......2006-01-21

Columbia SO recordings (NOT with the New York PO) , which are OOP, this Bohm is the one to have, the only one you need actually. As I've heard at least 6 other major conductors, Klemperer , Mackerraas, both Levine's etc etc.
The only 2 I kept are the Walter ,got mine from a used cd dealer in the UK online :-) and the Bohm, complete sym set, which is the way to go for Mozart fans. There's quite a few very good syms in the 1-34.
All that stuff you read about Bohm being a "kapplemiester" (germanic style/cold), old fashioned, tutonic, is very misleading. I hear nothing of the sort and wish these comments would stop.
Though I was forwarned about Bohm being off track in approach with his german orch, I sense there is some anti-german sentiments in these negative comments about Bohm. None of this criticism leveled against Bohm is factual, only a prejudice in their minds.

As to
Details, tempos, instrument quality, sound quality, orch size all are in perfect harmony with Mozart.
. Bohm and the Berlin show forth a understanding of Mozart that none except Walter can rival.
The Klemper/Philharmonia on TESTAMENT, not the EMI release(which are duds) are not too bad, but not in the same category as either Bohm or Walter.
I sat down one day and compred all 3, and concluded the Klemperer were not necessary , for sound issues and also not on par with Bohm's definitive recording.

EDIT: I should mention that i read on a forum recently, he recalled Bohm from his vinyl set that the performances were 'a bit dull". Bohm does not speed read. Any conductor that takes Mozart too fast is doing a disservice to these richly detailed scores. Mozart requires detailed attention, which is what Bohm brings. Yet the life is there, not dull at all.
EDIT on Feb 21/07...
Mackerras' Prague is not in the same league as the Berlin. Many of the soloists in this Berlin use instruments that bring out a chamber flaor, and also Bohm kept the orch smaller than many other orch's. This smaller chamber sound brings more to Mozart than many other recodings I;'ve heard. Even Walter's Columbia is "big sound", yet Walter's does present a "Mozartian" image. Bohm goes even further. Many other like conductors record Mozart with a "Beethovenian" sound. That us large orch/heavy/darker.

Paul Best
Baton Rouge

Mozart: The Late Symphonies: Nos. 25, 29, 35, 36, 38, 39, 40, 41

Average customer rating:

A good bargain
Great compilation of Mozart!
Good collection
Retrograde Mozart with undeniable heart
Mozart: The Great Late Symphonies

Mozart: The Late Symphonies: Nos. 25, 29, 35, 36, 38, 39, 40, 41

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000942LO
Release Date: 2003-07-01

Tracks:

I. Allegro Con Brio
II. Andante
III. Menuetto-Trio
IV. Allegro
I. Allegro Moderato
II. Andante
III. Menuetto-Trio
IV. Allegro Con Spirito
I. Adagio-Allegro
II. Andante
III. Presto

Tracks:

I. Allegro Con Spirito
II. Andante
III. Menuetto-Trio
IV. Presto
I. Molto Allegro
II. Andante
III. Menuetto-Trio
IV. Presto
I. Molto Allegro
II. Andante
III. Menuetto: Allegretto-Trio
IV. Allegro Assai

Tracks:

I. Adagio-Allegro
II. Andante Cantabile
III. Menuetto: Allegretto-Trio
IV. Finale: Allegro
I. Allegro Vivace
II. Andnate Cantabile
III. Menuetto: Allegretto-Trio
IV. Molto Allegro

Customer Reviews:

A good bargain.......2007-07-11

A bargain set, which whilst quirkily performed (in places), is a never-the-less continually entertaining to re-visit.

Great compilation of Mozart!.......2007-01-12

If you want to get the best of Mozart with a fabulous composer than this cd is the one for you. I am not a music critic, just a biology major who studies well listening to these classics -- they really help keep me focused!! Awsome symphonies at a great price -- what could be better?!?!

Good collection.......2006-12-21

I particularly found Symphonies 25 and 40 to be very nice to listen to. The the rest of them I found to be ok, maybe since I am not a big fan of classical music. I bought this cd because I went to a symphony that played Mozart no. 25 which I enjoyed very much. Hence I decided to try out his other compositions.

Retrograde Mozart with undeniable heart.......2005-12-04

Leonard Bernstein thought that every composer was a romantic because he was. These big, heart-on-sleeve performances of Mozart's great late symphonies use the Vienna Phil. at almost full force--they could slip into the Brahms First without adding personnel. Bernstein lived long enough to theoretically be influenced by the period-instrument movement, but his allegiance never shifted. He belongs with Karajan and Bohm as the last conductors for whom Mozart should sound "important."

At its best, this approach yields romantic depth, perhaps not what Mozart intended but valid in its way. I would rather listen to Bernstein's Mozart symphonies than Karajan's (tending to be slick and glossy, although better than reputed) or Bohm's (brisk and faceless). A new listener should know in advance that the slow movements will be expressively drawn out and the minuets often slow and heavy-footed (these dancers are wearing boots). But Bernstein believes in this music, and he is always genuine. That ocunts for a lot with a composer who used to be played as if he were a porcelain doll and is now too often played as if his divine music were written by a Roccoco computer. Four stars.

Mozart: The Great Late Symphonies.......2004-06-16

What a great album we have here. Leonard Bernstein conducts the later symphonies of Mozart, which are considered to be his most mature and his greatest works for full orchestra. This album is worth the price and a treasure to own for your extensive classical music collection. If you appreciate classical music, you'll truly enjoy this album. Everyone knows that Leonar Bernstein ranks among one of the best conductors of the 20th century, right up there with the great names of Herbert Von Karajan, Bruno Walter, Sir Neville Marriner, all who have held their own when it comes to Mozart's music. Karajan I feel is not quite as good when it comes to Mozart's symphonic works. Bruno Walter and Sir Neville Marriner have long surpassed Karajan in the area of Mozart symphonies. Indeed, if you get the chance be sure to check out symphonies conducted by either Bruno Walter or Sir Neville Marriner. Marriner and the Acadamy Of Saint Martin In The Fields did mostly Mozart and provided the music of the 1984 Milos Forman film Amadeus.

The reason this album is so good is Leonard Bernstein conducting. As a conductor and a musically atuned soul, he seems to really interpret these symphonies perfectly. He gets Mozart. He has captured every note, every vibrato, roulade, flowing lines and bouncy but balanced joy in every allegro movement, such as the first movement of the Prague Symphony No. 38. For contrast, he understood the substance and darkness that seems to be written into the Allegro of the Symphony No. 25. The first movement is meant to sound furious, anguished and complex, and fast in a darker sort of mood. It's one of those rare moments in which Mozart foreshadows the Romantic Era that would begin with Beethoven. Mozart would also do this with the andante of his 21st piano concerto and the opening movement of the Piano Concerto No. 20. The last symphonies 40 and 41, "Haffner" and "Jupiter" are regarded as Mozart's most mature works for the symphony. The orchestra is more panoramic and produces a less lighter texture. The music is a fully developed Mozart in his later years. The Jupiter is his grandest. Its name conjures up the vastness of the planet Jupiter or the majesty of the Roman god Jupiter. Get this album if you're a fan of Mozart and a fan of the conductor Leonard Bernstein who aptly conducted the New York Philharmonic for many years and the Berlin Philharmonic towards the end of his life.

Complete Mozart Symphonies / Pinnock, English Concert
Average customer rating:

The best period instrument Mozart symphony cycle around

The best period orchestra Mozart symphonies around!

A Beautiful Time Capsule

Another BBB (basically bland Brit) recording

Pinnock excellent, DG Archiv sound variable

Complete Mozart Symphonies / Pinnock, English Concert
Mozart , Ecc , and Pinnock
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
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Mozart: The Piano Concertos

Bach: Concertos

Haydn: Complete Symphonies (Box Set)

Dvorák: The Symphonies

Vivaldi Concertos

ASIN: B000069KJ3
Release Date: 2002-10-08

Tracks:

Molto Allegro
Andante
Presto
Allegro Assai
Andante
Presto
Allegro
Andante
Presto
Allegro
Andante
Molto Allegro
Allegro Maestoso
Andante
Presto
Allegro
Andante
Menuetto - Trio
Allegro

Tracks:

Molto Allegro
Andante
Menuetto - Trio
Molto Allegro
Allegro
Andante
Menuetto - Trio
Molto Allegro
Allegro
Andante
Menuetto - Trio
Molto Allegro
Allegro Maestoso
Andante
Menuetto - Trio
Allegro
Allegro
Andante
Menuetto - Trio
Allegro
Allegro
Andante
Allegro Molto

Tracks:

Allegro
Andante
Menuetto - Trio
Presto
Allegro
Andante
Menuetto - Trio
Allegro
Allegro
Andante
Allegro
Allegro
Andante
Menuetto - Trio
Allegro Molto
Allegro
Andantino
Menuetto - Trio
Allegro
Allegro
Andante
Menuetto - Trio
Molto Allegro

Tracks:

Allegro
Andante
Allegro
Allegro
Andante
Menuetto - Trio
Allegro
Allegro
Andante
Menuetto - Trio
Molto Allegro
Allegro Moderato
Andante
Menuetto - Trio
Molto Allegro
Allegro
Andante
Menuetto - Trio
Presto

Tracks:

Allegro Maestoso
Andante Grazioso
Allegro
Allegro
Andante
Allegro
Allegro
Andantino Grazioso
Menuetto - Trio
Molto Allegro
Allegro
Andante
Menuetto - Trio
Allegro
Molto Presto
Andante
Allegro

Tracks:

Allegro
Andante
Menuetto - Trio
(Allegro)
Allegro
Andante
Menuetto - Trio
Allegro
Allegro Assai
Andantino Grazioso
Presto Assai
Allegro Spiritoso
Andantino Grazioso
Presto Assai
Allegro
Andantino Grazioso
Presto

Tracks:

Allegro Spiritoso
Andantino Grazioso
Allegro
Allegro Con Brio
Andante
Menuetto - Trio
Allegro
Molto Allegro
Andantino Con Moto
Menuetto - Trio
Presto
Allegro Assai
Andante
Allegro

Tracks:

Allegro Moderato
Andante
Menuetto - Trio
Allegro Con Spirito
Allegro Spiritoso
Andante
Menuetto: Allegretto - Trio
Presto
Allegro Assai
Andante Moderato
Menuetto - Trio
Allegro Assai

Tracks:

Allegro Spiritoso
Andante
Tempo Primo
Allegro Vivace
Andante Di Molto Piu Tosto Allegretto
Finale: Allegro Vivace
Allegro Con Spirito
Andante
Menuetto - Trio
Presto
Adagio - Allegro Spiritoso
Andante
Menuetto - Trio
Presto

Tracks:

Adagio - Allegro
Andante
Presto
Adagio - Allegro
Andante Con Moto
Menuetto: Allegretto - Trio
Finale: Allegro

Tracks:

Molto Allegro
Andante
Menuetto: Allegretto - Trio
Allegro Assai
Allegro Vivace
Andante Cantabile
Menuetto: Allegretto - Trio
Molto Allegro

Customer Reviews:

The best period instrument Mozart symphony cycle around.......2005-11-24

Trevor Pinnock and the English Concert turn in the best period instrument Mozart Symphony cycle around. With 20-30 players, the English Concert sounds full and rich, and are so well recorded, one could mistake them for a modern instrument chamber orchestra augmented with more players for a bigger sound. The early symphonies employ fewer players, the symphonies from about No. 20 and following call for more players, in some cases trumpets, horns and timpani in addition to the usual strings, harpsichord, flutes, oboes, and bassoon.

Pinnock chooses perfect tempos for the English Concert: allegros are spritely, but not driven and there's never a sense that the musicians are having trouble keeping up at Pinnock's tempos. Andante movements sing with the cantabile quality Mozart is famous for, and are always musical and flowing: very beautiful.

I am not a big fan of period instrument Mozart. I have heard Hogwood and the Academy of Ancient Music (L'Oiseau Lyre) in Mozart Symphonies 34, 38, 39, and 41 and that's enough to give me a sense that Pinnock is superior - more confident, and better recorded - to Hogwood in this music. Haydn's symphonies seem to work better with period instruments than do Mozart's, but Pinnock and the English Concert have a special musical quality which MAKE Mozart work with a period orchestra. Incidentally, both Pinnock and Hogwood have recorded very fine Haydn Symphonies with their respective orchestras.

I have also read, in AMERICAN RECORD GUIDE (July/August 2005 issue) in a review of the Mozart Symphonies with Linden/Mozart Academy of Amsterdam, a period orchestra (Brilliant Classics set) that Pinnock's Mozart cycle is to be preferred. I have not heard Linden myself, but ARG's review states that with the exception of Symphonies 20, 39, 40, and 41, Pinnock "wins across the board." The reviewer cites sour tuning, below standard pitch, sloppy playing, not enough contrasts of dynamic range and pokey allegros, as liabilites which are especially annoying in Linden's cycle, and advises the reader to go with Pinnock if looking for a period cycle of Mozart symphonies.

Other options? Bohm/Berlin Philharmonic (DG); Krips/Concertgebouw (for Symphonies 21-41, Philips); Hans Graf/Mozarteum Orchestra, Salzburg (Capriccio); and Nicholas Ward/Northern Chamber Orchestra, modern instrument chamber orchestra (for early symphonies, Naxos). But unless you really hate period instruments, you will like Pinnock, as I do, and as I stated earlier: I am not a fan of period instrument Mozart.

The best period orchestra Mozart symphonies around!.......2005-08-23

Trevor Pinnock and the English Concert perform Mozart's symphonies with great style, elan, and spirit, making this the best period orchestra Mozart Symphonies around. Pinnock deals alot in contrasts and atmosphere, setting a mood for each movement, within each symphony. The English Concert plays even Mozart's earliest symphonies-written when he was a pre-teen-as great music, and it works, very effectively. Allegros bristle with spirit, Andantes and Adagios emphasize cantabile (singing style) as all Mozart's music has a vocal/singing emphasis (in contrast to Haydn or Beethoven, who tend to build movements arount motives, or rhythmic patterns of notes; Mozart emphasizes melody moreso in many of his works).

I am not a fan of period instruments in music of Haydn, Mozart, and any composers after Bach and Handel, but this cycle is really fine. My favorite Mozart Symphonies have been Karl Bohm/Berlin Philharmonic (complete cycle, DG); 21-41 by Joseph Krips/Concertgebouw Orchestra (Philips, coupled with Marriner/Academy of St. Martin in the fields for 1-20); Bruno Walter/New York Philharmonic for Symphonies 25,28,29,35,36,38-41 (Sony); Otto Klemperer/Philharmonia for Symphonies 36,38-41 (EMI). But, Pinnock's accounts are spirited and the English Concert, at about 20-25 players, doesn't sound scrawny or ineffective at all. If you're used to the sonority of the Berlin Philharmonic or Philharmonia Orchestra, this will take some getting used to, but it is very good.

This could be called "period instrument Mozart for those who don't like period instruments." I have heard Christopher Hogwood/Academy of Ancient Music in Symphonies 34,38,39,41, and they are not as good as Pinnock's accounts. Hogwood's orchestra sounds small, puny compared with Pinnock's more robust group. I am not meaning to degrade Hogwood, as I have a number of fine recordings of his: Beethoven Symphonies 1,2;
Handel's MESSIAH; Haydn Symphonies 94, 96; Boyce Opus 6 Symphonies. But in Mozart Symphonies, I prefer Pinnock.

Pinnock's set is also well recorded, adding to it's high quality. You can't go wrong with these, unless you absolutely hate period instruments.

A Beautiful Time Capsule.......2005-04-08

In comparing this recording, with its use of original instruments, and my favorite recordings with modern instruments, I find I prefer this. It doesn't lose any power, but it gains by the imaginative process of listening to the music as Mozart would have heard it. The collection is also a wonderful way to listen to the progression of Mozart's music throughout his life. As you listen to the first two of the eleven discs, you'll be amazed at the symphonies he wrote when he was only nine years old!

Another BBB (basically bland Brit) recording.......2005-04-06

This is a short review because when you've heard one of these you've heard them all. They're all played in the same starched, stiff mannor, with brisk tempi, little feeling, no shaping of phrase, and no color. The Mozart symphonies--the latter ones, anyway--have their own style and merit different approaches (No. 31, the "Paris," is almost curtain-raiser music for an opera buffa, for example, while No. 39 is in some ways proto-Beethoven, harmonically sharing a good deal with the "Eroica," and No. 40 shows Mozart heading into a realm of a basically Romantic chromaticism that would have led to much fascinating music if he'd lived longer and written more in that style). Yet here all the works are played interchangably. These are performances that could have been generated on a computer.

The sound is excellent, but that's about all there is to recommend this set. Hogwood's traversal on period instruments has more personality, believe it or not. And to really show what can be done with works like these on HIP instruments, try Franz Bruggen's remarkable recordings of the Haydn symphonies on Philips. I can't recommend this set, and I got it for considerably less than the Amazon price, too.

Pinnock excellent, DG Archiv sound variable.......2005-02-18

I greatly admire Pinnock's style, directing skill and harpsichord playing, but I don't understand the variability of sound balance achieved on his many recordings by DG. Most are recorded in Henry Wood Hall and have the same "tonmeister" and producers. For example his recording of the Bach Violin Concertos is vibrant, full bodied and has a great "presence", whereas on the other end of the spectrum, the last disc of the symphonies, 40 and 41, is really anemic, with pratically no bass. I gave them a +12db bass boost to try and compensate for the lack of bass, but there was hardly any difference in the low end response. In order to listen to this disc, and to some extent the prior two as well, I have reverted to my volume expander used with vinyl records from the 70's.

My system has very clean and deep bass response and handles Telarc organ recordings with great effect, so I do not believe it is that. And, as I stated the violin concertos have a great presence, to the point where I can visualize the bass and cello players bowing their instruments. It may be do to different microphone placement for the larger ensemble of the latter symphonies, without compensating for the different acoustic.

When it comes to Archiv's 4D recordings of the English Concert, I do not like them at all. The choir from the Mozart Coronation Mass sounds like it is being piped down from outer space, detached and way to ethereal. The Telemann suites do not fare any better, thin and anemic. Don't think the extended dynamic range and lower threshold noise level helped in any way.

I should also add that I have about every recording of Pinnock and the English Concert, really the best "Original Instruments Group" out there. In my humble opinion, Pinnock should have a "Sir" in front of his name.

Average customer rating:

Meeting place of Mozart and Beethoven...
Lovely middle-of-the-road readings, with a bit of extra expression
This is sacrilege !
One of the best from Bernstein!
Best Overall

Mozart: Symphonies 40 & 41 / Bernstein

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GO0
Release Date: 1995-09-19

Tracks:

Symphonie No. 41 In C Major K. 551 'Jupiter': 1. Allegro Vivace
Symphonie No. 41 In C Major K. 551 'Jupiter': 2. Andante Cantabile
Symphonie No. 41 In C Major K. 551 'Jupiter': 3. Menuetto. Allegretto - Trio
Symphonie No. 41 In C Major K. 551 'Jupiter': 4. Molto Allegro
Symphonie No. 40 In G Minor K. 550: 1. Molto Allegro
Symphonie No. 40 In G Minor K. 550: 2. Andante
Symphonie No. 40 In G Minor K. 550: 3. Menuetto. Allegretto - Trio
Symphonie No. 40 In G Minor K. 550: 4. Allegro Assai

Customer Reviews:

Meeting place of Mozart and Beethoven..........2007-04-21

Mozart's last two symphonies are interesting in that they reach a level of intensity not usually associated with the majority of his other works. I guess people love Mozart for his emotional health, cleaness, mathematical precision and utter grace. The last two symphonies of Mozart, can be seen as a meeting place of Mozart and Beethoven where Mozart's purity of form meets the angry Beethoven's sense of struggle.

It is surprising that conductor Bernstein does such a fine job with the task of providing balance to these works. After all, Bernstein wasn't known for restraint, and he certainly was never considered a great conductor of Mozart.

Comparisons: Bruno Walter; Toscanini

Lovely middle-of-the-road readings, with a bit of extra expression.......2006-03-12

I think Bernstein's fans have gone overboard here. These two Mozart performances, recorded live in 1984-85, find the conductor in a good mood. Bernstein's Mozart was never extreme, and he took special care to find expression in scores that have very few expression markings by the composer. Compared to similar accounts over the years, these readings are less smoothed-over than Karajan's, less militant than Bohm's, but also less buoyant than Beecham's and less lovig than Walter's. Anyone who admires the Vienna Phil. will certainly find them to be stylish and warm (much more so than when they recorded all the Mozart symphonies under Levine during this same peirod); this is very congenial Mozart where eveyr phrase is kissed.

Overall, I'd place Bernstein's G minor in a league with Britten and Walter, the Jupiter in a league with KLemperer, although in the long run Klemperer's Mozart is more imposinb and memorable. For anyone who hasn't been totally won over by period practice, this CD is very satisfying without being any kind of apotheosis.

This is sacrilege !.......2006-03-04

I am a great admirer of Mozart, and the first movement of the K 550 is perhaps the single most perfect, moving, inventive and shockingly beautiful piece of art since the birth of time. It says molto allegro, and Bernstein, for some inexplicable reason, plays it much too slowly. The dynamic power of this masterpiece is thereby terribly diminished.
And it doesn't stop there. The powerful and haunting third movement seems good at first, but then some (brass?) instrument takes the upper hand and ruins everything. If there's one quality a conductor should possess (apart from having the right tempo), it is a thorough understanding of how the orchestra works, and how perfect balance of instruments can be achieved.
The last movement of the 40th is played faster than the first; too fast even, perhaps. Anyway, it has the feeling of carelessly racing through the material.

Then comes the much admired, grand Symphony No. 41. The brilliant first movement (joining the ranks of its brother in the G minor) immediately sets off on the wrong foot by introducting some sort of fermata (why I have no idea), and again the orchestra seems awfully raw and unbalanced. The sliding strings at the beginning are hardly heard over all the noise.
Then, finally, we come to the great Schlussfuge (final fuge), another beautiful and ingenious composition. The tempo is good, but it's the same story all over again with the orchestral colour: the build-up, in particular the bass entry at the beginning, is clumsily handled, and the fugal complexity is trashed by Bernstein's unbearable racket.

I might have given this CD a higher ranking than just one star, but the problem is that we're talking about two divine miracles, one of the most beautiful stream of dots and lines any man has ever been able to put on paper. I hardly ever listen to the first movement of the 40th symphony, because when I do, I am drowned by the unstoppable urge to become a part of the heavens I never will, I move my arms violently, but can never match the intense emotion, the restless fire and the ruthless power of the greatest symphonic achievement ever. Bernstein has attempted to translate the word of the gods, and to do so as carelessly as this, is unforgivable sacrilege.

One of the best from Bernstein!.......2005-05-30

I read a Penguin review about this CD in Penguin's Book of Classical CD Recordings and Penguin placed a "rosette" symbol next to it. You know what that means, right? A Magical recording. Indeed it is. If you are a big fan of Mozart's #40 and #41 symphonies look no further than this CD.

Best Overall.......2003-10-02

I concur with all the other reviewers: although the sound is not quite up to par, it is more than adequate; but the performances are absolutely top-notch. Bernstein's tempos are perfect, all the repeats are taken, everything is infused with dramatic tension. The G minor is appropriately dark and elegant, its unbearable grief kept in check by an Apollonian temper. The Jupiter is positively...Jovian. This is, overall, my favorite recording of these two magnificent works (followed closely by Britten's and Klemperer's). A must for your classical collection.

Average customer rating:

Szell's Mozart Is A Tour-De-Force!
Best recording of #40 and #41 I've ever heard
The good old days
geniales!!
More Mozart! more Mozart!!!

Mozart: Symphonies Nos. 35, 40, 41

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005YNH6
Release Date: 2002-01-29

Tracks:

Symphony No. 35 In D Major, K. 385 'Haffner': I. Allegro Con Spirito
Symphony No. 35 In D Major, K. 385 'Haffner': II. Andante
Symphony No. 35 In D Major, K. 385 'Haffner': III. Menuetto; Trio
Symphony No. 35 In D Major, K. 385 'Haffner': IV. Finale: Presto
Symphony No. 40 In G Minor, K. 550: I. Motto Allegro
Symphony No. 40 In G Minor, K. 550: II. Andante
Symphony No. 40 In G Minor, K. 550: III. Menuetto: Allgretto; Trio
Symphony No. 40 In G Minor, K. 550: IV. Allegro Assai
Symphony No. 41 In C Major, K. 551 'Jupiter': I. Allegro Vivace
Symphony No. 41 In C Major, K. 551 'Jupiter': II. Andante
Symphony No. 41 In C Major, K. 551 'Jupiter': III. Menuetto: Allegretto; Trio
Symphony No. 41 In C Major, K. 551 'Jupiter': IV. Molto Allegro

Customer Reviews:

Szell's Mozart Is A Tour-De-Force!.......2006-11-07

I've been listening to the late Mozart symphonies for years and these Szell recordings continually stand out as some of the finest. Szell beats Marriner, Bernstein, Gardiner and even Karajan most of the time. Szell's Haffner is radiant, one of the finest ever played. His account of the 40th symphony, the famous G Minor is still unsurpassed, the richness and dark emotions of the opening movement are brought out as never before or since. Szell gives off no sentimentality whatsoever and this music sings and flies under his baton. Bernstein and Karajan are easily superseded in the Haffner and G Minor symphonies. The final symphony, number 41, the magnificient Jupiter, one of Mozart's greatest creations and one of the most perfect symphonies ever composed gets a stunning performance. Here the competition is stiffer and you should definitely hear Karajan in the Jupiter, check out his DG 2CD set of the late Mozart symphonies. Other than Karajan, Szell reigns supreme on modern instruments, utilizing the full orchestra.

Szell skips many of the repeats which have become customary these days, the repeats sure can get annoying, it's nice to hear Szell letting the music speak for itself instead of being merely academic. Szell takes the repeat in the opening movement of the Haffner symphony, this is something that recent day conductors don't do since Mozart did not put a repeat sign for this movement. The 40th symphony also gets the all important exposition repeat in it's opening movement, the finale moves along sans repeats. The Jupiter is repeat free in the opening movement and the finale. The finale especially can get very tedious if both halves of it's structure are repeated like in the Bernstein recording.

Basically if you love Mozart played by modern instruments on a full-sized orchestra, I can't recommend Szell's CD enough, it's a classic in every sense, fast, elegant, dramatic and full of charm. You must buy it if you love Mozart.

Best recording of #40 and #41 I've ever heard.......2006-06-10

Straight up, this is the best recording of Mozart's #40 and #41 that I have ever heard. There is so much energy and intensity and it is so refined and beautiful. I particularly like the way they do the last movement of #41--it's amazing. And it's like...#35 on the CD too...bonus!

Szell in general is always good, and...well...this is one of my favorite among all his performances. This is definitely my favorite mozart CD and it is among the most cherished of any CD's in my collection.

The good old days.......2005-01-04

I've heard people say Szell's recordings are lame and uninteresting. I don't see how anyone could believe that, but if you need someone to say it ain't so, here I am. Although these interpretations of these symphonies don't blast out of your speakers the way von Karajan or Bernstein Mozart would, that doesn't mean they're not full-blooded, irresistible recordings nonetheless. What Szell and Cleveland bring to the foray that many of their counterparts lack is their trademark pinpoint precision. You truly can "hear every note"--and in music as transparently structured as Mozart's, where every note is necessary and important, that precision makes the difference between a nice recording and a compelling one. However, there's a surprising amount of passion in these interpretations as well. Given that Szell himself defended his allegedly unemotional Mozart recordings with the sardonic comment "I cannot pour chocolate sauce on asparagus," I find these recordings to be some of the most ardent I've heard; in fact, for as much of a Dohnanyi fan as I am, I daresay this recording of the 40th trumps even that maestro's recording with this same orchestra. The "Haffner" symphony in particular is a real potboiler on this album; I don't think I've ever heard it performed with more gusto--but check out the stentorian minuet of the 40th, or the exhilarating trumpet work throughout the 41st. The bottom line is, you get three of Mozart's finest symphonies packed into one CD at a budget price, which is a bargain on its own--but when the quality of the interpretation is as good as it is here, that bargain becomes an unbelievable value. Even if you already own other recordings of all of these symphonies, this CD should be a necessary addition to your collection. It sure was for me.

geniales!!.......2004-11-09

Mozart escribio estas ùltimas sinfonias y se consagraron sobre las demas, en este CD descubrira porque, el sonido magnifico y la interpretación no tienen parangón.
Szell a cargo de la sinfónica de Cleveland hace que estas sinfonias suenen soberbias, estan energizadas de un vigor y elegancia geniales, son obras de arte musicales en su máxima expresión, no hay que hacer ningun comentario respecto de la 40, es muy conocida y podran disfrutar de una version espectacular, la Nº 41 Jupiter es otra maravilla segunda en el ranking de popularidad Szell hace de ella alcanzar aires de grandeza inigualables, la 35 otra maravilla, la orquesta a plenitud, es genialidad y belleza pura, disfruten de lo mejor de Mozart con los mejores interpretes.

More Mozart! more Mozart!!!.......2003-11-14

I recently purchased this recording and Maestro Szell's recording of the Haydn Symphs. 92, 94, and 96.

I have owned many of the Maestro's recordings from all periods, but his Mozart and Haydn are non-pariel! Why there was never a complete set of Mozart or Haydn symphonies creates a mystery in my mind that will never be solved. Is it the simple cost over what is left for humanity that important? Neville Mariner could come close sometimes but not all of the time, and I mean not really that close.

I am still amazed that there are over two thousand titles for the Berlin and Vienna Philharmonic Orchestras alone, while we have, at least, the top five orchestras in the world still and a paultry discography remains or is being produced. What is wrong with this picture?

One of the former reviewers said something about this disc being a for-runner of 'authentic' period recordings. This may be so, but I haven't heard one yet that even comes close and all of that tinny scratchy noise from these 'experts' sure drives me away. Performance was meant to grow and not be caught up in stasis. Why can't there be 'authenticity' with beautiful string sound and virtuoso brass and winds?

I even love to hear the Maestro hum along or hear him grunt when he starts a hefty section of music. You can imagine how much of this is going on when he and Rudolph Serkin get together. I love it. Total passionate involvement.

The 'Haffner' is absolutely sublime. The first movement of the Fortieth is beyond description and don't I hear the first inkling of cyclical form here in the remaining movements? And the 'Jupiter'--no words can supply what is conveyed. Maybe if Mahler had been alive in Mozart's time this is what he might have composed. That is the closest I can get,

I remember when these recordings came out on 33's. The musical world was absolutely stunned. There had never been Mozart recordings played in such sumptuous, yet crisp and virtuosic manner as this. They still remain the standard, and being recorded in Severance Hall, the sound is still crisp and sumptuous at the same time.

Tracks:

Wedding Bells - The #1 Wedding Album
Bridal Chorus - Wagner
Allegro - Peter Hurford
Trumpet Tune And Air - Philip Jones
Prelude - Pierre Cochereau
Air - J.S. Bach
Largo In F - Randall Wolfgang
Sheep May Safely Graze - J.S. Bach
Largo Ma Non Tanto - Regis Pasquier
My Heart Will Go On - Patricia Spero
Panis Angelicus - Luciano Pavarotti
Ave Maria - Lisa Otto
One Hand, One Heart - Jose Carreras
Alleluja (Allegro) - Arleen Auger
See The Conquering Hero Comes - Simon Preston
Let The Bright Seraphim - Joan Sutherland
Alla Hornpipe - Handel
Wedding March - Stephen Cleobury

Tracks:

Bridal Chorus - Stephen Cleobury
Trumpet Voluntary - John Wilbraham
Trumpet Tune In C - Purcell
Allegro - Maurice Andre
Sonata - The Philip Jones Brass Ensemble
Canon In D - Pachelbel
The Heart Asks Pleasure First - Jean-Yves Thibaudet
Sleepers Awake - Peter Hurford
Greensleeves - Goran Sollscher
Jesu, Joy Of Man's Desiring - J.S. Bach
Ave Maria - Leontyne Price
O Mio Babbino Caro - Ranata Tebaldi
How Lovely Is Thy Dwelling Place - John Scott
Be My Love - Jose Carreras
Because - Placido Domingo
Rondeau - Simon Preston
Wedding Day At Troldhaugen - Wolfgang Marschner
Canzon In Imitation Of An English Bergamask - The Philip Jones Brass Ensemble
La Rejouissance - Handel
Wedding March - Mendelssohn

Average customer rating:

Incredible!
Cheesy cover doesn't mean it
Utterly Airbourne Mozart
Mackerras Makes Magic!

Mozart: Symphonies Nos. 40 & 41

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Mozart: Serenade for 13 Winds "Gran Partita"

ASIN: B000003CU6
Release Date: 2003-04-22

Tracks:

I. Molto Allegro
II. Andante
III. Menuetto: Trio
IV. (Finale) Allegro Assai
I. Allegro Vivace
II. Andante Cantibile
III. Menuetto: Trio
IV. (Finale) Molto Allegro

Amazon.com

Sir Charles Mackerras crowns a superb Mozart symphony cycle with these two marvelous performances, which marry 18th-century performance techniques to the warm tone of modern instruments. He also adds a discrete harpsichord accompaniment to the orchestra, such as might have existed in Mozart's time. With all the repeats taken and tempos swifter than the norm, Sir Charles Mackerras invests these symphonies with uncommon energy and stature. A fine disc which all Mozarteans should hear. --David Hurwitz

Customer Reviews:

Incredible!.......2007-05-08

Once again, Sir Charles Mackerras and the Prague Orchestra take their art to dizzying heights of rare musical majesty and excellence. These performances are not too heavy but very graceful and eloquent. I highly recommend this recording, just like every other disc in this lauded series of Mozart symphonies. This cd will give you a new appreciation of these essential symphonic works.

Cheesy cover doesn't mean it.......2006-07-03

This is a passionate and vivid recording of some terrific and moving Mozart.

Utterly Airbourne Mozart.......2006-02-22

With nearly three hundred recordings of Mozart's last two symphonies in the current catalogue alone (not to mention those that have been deleted or are in the process of being re-mastered) this final installment in the recordings by Sir Charles Mackerras of the entire symphony cycle proves something special. Mackerras conducts the Prague Chamber Orchestra in these transparent works that make them seem like wind through harp strings.

Some may prefer the more somber, thicker sound of orchestral palette opted for by other master conductors, feeling that the darker sound gives more emotional weight to these final symphonies. But even without the benefit of having heard Mackerras' complete cycle the distinction of this CD is unmistakable. He never forces the fortes, never lets the slow movements become morose, and never uses tempi so fleet that the articulation of the strings is lost. Listen carefully and the subtle use of the harpsichord is present. Mackerras favors the Mozart size chamber orchestra and brisk tempi but polishes these aspects by immaculate playing by his orchestra members who use modern as opposed to period instruments. The result is, well, Mozartean, and rarely have these works felt so completely right.

Making a list of recommended recordings of all of Mozart's works in this his birthday year would definitely place this CD high on the list. It is as though the symphonies are entirely new. Highly recommended. Grady Harp, February 06

Mackerras Makes Magic!.......2005-12-29

When a conductor undertakes the colossal task of recording the entire Mozart symphonic canon, it's pretty safe to assume that a great deal of research went into interpreting the music; and who better to perform the works of Mozart than an orchestra from Prague, the town that adored him. Add Telarc's marvelous digital sound quality into the performance and the result is a recording to die for.

Mackerras' accounts of Mozart's final two symphonies are the most enjoyable, authentic, and technically flawless renderings of these masterpieces I have ever come across. The balance and tone of the Prague Chamber Orchestra is perfect and articulations during fast passages are extremely crisp and clear. The orchestra never sounds distant or muddled, and the music is always exciting.

In the excellent liner notes, Mackerras explains his research into Mozart's original manuscripts in an effort to get as close as possible to performing the music as the composer intended. The orchestra observes all repeats (including the development/recapitulation of sonata form movements), and also adds a subtle basso continuo that is never intrusive.

What stands out the most in Mackerras' interpretation is his choice of faster tempos, especially in the inner movements. The Andantes of both symphonies are often played as Adagios by other orchestras, and Mackerras correctly observes the Andante designation, which, after hearing so many other conductors plod through second movements, is a great relief and gives the movement new life and beauty. Likewise, the minuets are taken at a swift one beat per bar which Mackerras explains is more authentic. Again, this interpretation adds much energy to the dance movements.

For those who are interested, Mackerras performs K550 with the original instrumentation of two oboes and no clarinets rather than the revised edition which included a pair of both. Likewise, only the first violin parts in the Andante of K551 are muted (most performances also mute the second violins). Mackerras made this decision after consulting Mozart's autographed manuscript and concluded that the composer intended to mute the first violins only. Mackerras admits in the liner notes that the change gave the movement more clarity.

Finally, the wind parts, which are often dominated by the strings in other performances, are brought out quite nicely, making their statements when called for and then tastefully retreating back behind the string melodies. The horns in the trio of K550's minuet are especially lovely, as are the flute and double reed solos in the finale of K551.

Having heard more performances of these works than I care to mention, I can say with conviction that these accounts are hands down the most perfect and sublime renderings available today. Add it to immediately to your collection, it's an absolute steal.