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The couplings are also carefully considered. Gramophone A Disc of the Year. In the main recording we have a composite version of the surviving music for Munich 1981. As I have suggested, the recording is excellent. He was tragically killed, in his prime, in a car accident while travelling home overnight from the Edinburgh Festival. One is not so much conscious of dialogue-like interplay, but more of them blending to play as one instrument.The fine CBS recording has entirely captured the subtle inflections of detail, especially in the artists' irreproachable balance. Her Susanna is coquettish, with rolled Rs in ‘dolce susurro’ making my heart skip a beat. More distinctively, Bezuidenhout’s elastic tempi give him room to probe for meaning but also allow panache that’s so much a part of Mozart’s buoyant temperament and prompts some delightfully elongated final cadences. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. A special word of praise must be given for the handling of the recitative, which really has the feeling of a live performance and is accompanied with just the right amount of embellishment by Martin Isepp. It isn’t perhaps unreasonable to think that Mozart may sometimes actually have wanted a pair of repeated notes (in that Act 1 trio, for example). Steinbacher has a way of searching out what gives each passage, each phrase, its individuality, getting it to speak to us through slight changes in dynamic or emphasis. It is in fact clear from the opening that this is a performance to reckon with, exemplified by its carefully measured tempo, its poise and its subtle handling of the balance between strings and piano. But the line of his playing, appropriately vocal in style, is exquisitely moulded; and the only reservations one can have are that a hushed, 'withdrawn' tone of voice, which he's little too ready to use, can bring an air of selfconsciousness to phrases where ordinary, radiant daylight would have been more illuminating; and that here and there a more robust treatment of brilliant passages would have been in place. Effects are clear in, for example, the Fantasia, K475. Starker still than the larger performance, this telling appendix offers a tantalising glimpse of the music that might have been played by Mozart’s friends and students as they struggled to come to terms with their loss. Giulini does, one feels, occasionally hold back to allow a voice its moment of glory; and the Act 1 finale hasn't quite that thrilling inexorability as the dance hurtles from form to chaos. In the more opulently scored K482 (trumpets and drums, oboes replaced by clarinets) I ideally wanted a fuller string tone than the 14 Cologne players can muster. In a letter to his daughter Nannerl, Leopold Mozart expressed his pleasure at the interplay of the various instruments after hearing Wolfgang perform the B flat Concerto, K456. Maria Ewing is the newcomer to the cast I referred to earlier, but you would hardly know it from her involving, often poignant singing, particularly in the recitative before ''Mi tradi'', itself sung with the runs made part of the worried expression. Seldom, either, will you hear such expertly chosen tempi; generally these performances are on the quick side, but rather than seeming hard-driven they exude forward momentum effortlessly worn. All three symphonies were written when Mozart was about 18 years of age, and they have the aura of fully-formed genius about them. At the other end of the emotional spectrum is the scintillating interaction of the two in the Presto of K526. Christian Elsner’s beefy tenor lacks mellifluousness in the Cretan king’s loveliest arias (“Vedrommi intorno” is husky rather than beautiful), and is stretched slightly by the reams of coloratura in “Fuor del mar” (which is superbly played and conducted), but his recitatives effectively portray a mature-sounding Idomeneo whose torment at the hands of Neptune warrants a peaceful abdication. I refuse to say. Indeed, we now know that records of Mozart piano concertos don't come any better played than here. It will not be to everyone's taste. Ulrich Hübner hn Frank Theuns fl Marjan de Haern hp Yoko Kaneko pf Anima Eterna / Jos van Immerseel pf. His own cadenzas are short and to the point. The 50 greatest Mozart recordings (2019 update) Gramophone Wednesday, May 15, 2019 50 of the finest Mozart recordings in history, plus extracts from the original Gramophone reviews, a playlist, and links to the albums on Apple Music. Lindsay Kemp (February 2008), Arthur Grumiaux, Arpad Gérecz vns Georges Janzer, Max Lesueur vas Eva Czako vc. The Leipzig Radio Chorus and the Dresden State Orchestra provide splendid support and Philips's digital recording is uncannily vivid. 25 in G minor, K. 183/173dB, was written by the then 17-year-old Wolfgang Amadeus Mozart in October 1773, shortly after the success of his opera seria Lucio Silla.It was supposedly completed in Salzburg on October 5, a mere two days after the completion of his Symphony No. Fp Cologne Academy / Michael Alexander Willens – including the premiere performance of Mozart ’ s second in... 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