Symphonies 38 & 39

On this CD:

1. Symphony No. 38 in D major ("Prague"), K. 504
Composed by Wolfgang Amadeus Mozart
Performed by Dresden Staatskapelle
Conducted by Herbert Blomstedt

2. Symphony No. 39 in E flat major, K. 543
Composed by Wolfgang Amadeus Mozart
Performed by Dresden Staatskapelle
Conducted by Herbert Blomstedt

Symphonies 38 & 39, Music, Mozart, Blomstedt, Staatskapelle Dresden, Classical, Classical Music
Mozart: Symphonies Nos. 35-41
Average customer rating: 4.5 out of 5 stars
  • 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

All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
ClassicalClassical | Symphonies | Forms & Genres | Classical | Styles | Music
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Similar Items:
  1. Beethoven: 9 Symphonies
  2. Mozart: The Great Piano Concertos, Vol. 1
  3. Beethoven: Symphonien Nos. 5 & 7 / Kleiber, Vienna Philharmonic Orchestra
  4. Mozart: The Great Piano Concertos, Vol. 2
  5. Beethoven: Symphony No. 9 / Karajan, Berlin Philharmonic Orchestra

ASIN: B000001GQB
Release Date: 1996-01-23

Tracks:

  1. Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Allegro Con Spirito
  2. Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': (Andante)
  3. Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Menuetto - Trio
  4. Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Finale. Presto
  5. Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Adagio - Allegro Spiritoso
  6. Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Andante
  7. Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Menuetto - Trio
  8. Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Presto
  9. Symphonie No. 38 - Dur KV 504 'Prager Symphonie': Adagio - Allegro
  10. Symphonie No. 38 - Dur KV 504 'Prager Symphonie': Andante
  11. Symphonie No. 38 - Dur KV 504 'Prager Symphonie': (Finale.) Presto

Tracks:

  1. Symphonie No. 39 Es-dur KV 543: Adagio - Allegro
  2. Symphonie No. 39 Es-dur KV 543: Andante Con Moto
  3. Symphonie No. 39 Es-dur KV 543: Menuetto. Allegretto - Trio
  4. Symphonie No. 39 Es-dur KV 543: Finale. Allegro
  5. Symphonie No. 40 g-moll KV 550: Molto Allegro
  6. Symphonie No. 40 g-moll KV 550: Andante
  7. Symphonie No. 40 g-moll KV 550: Menuetto. Allegretto - Trio
  8. Symphonie No. 40 g-moll KV 550: Allegro Assai
  9. Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Allegro Vivace
  10. Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Andante Cantabile
  11. Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Menuetto. Allegretto - Trio
  12. 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:

5 out of 5 stars 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

5 out of 5 stars 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.

5 out of 5 stars 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.

5 out of 5 stars 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.

5 out of 5 stars 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



Schumann: The 4 Symphonies
Average customer rating: 4.5 out of 5 stars
  • A recording from the far side of the pendulum.
  • Maybe not the best recording quality
  • The wisdom gaze!
  • Schumann the symphonist...
  • Lenny found Mahler in Schumann!
 Schumann: The 4 Symphonies

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

All Works by Robert SchumannAll Works by Robert Schumann | Schumann, Robert | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
RomanticRomantic | Symphonies | Forms & Genres | Classical | Styles | Music
GeneralGeneral | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Symphonies | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
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Similar Items:
  1. Schubert: 8 Symphonies
  2. Mendelssohn: 5 Symphonies; 7 Overtures
  3. Brahms: The Complete Symphonies / Karajan, Berlin PO
  4. Tchaikovsky: Symphonies no 4, 5, & 6 / Karajan, Berlin PO
  5. Sibelius: The Complete Symphonies 1

ASIN: B000001GY9
Release Date: 1997-02-11

Tracks:

  1. Symphony No. 1 In B Flat Major, Op. 38 'Spring': I - Andante un poco maestoso - Allegro molto vivace
  2. Symphony No. 1 In B Flat Major, Op. 38 'Spring': II - Larghetto - attacca
  3. Symphony No. 1 In B Flat Major, Op. 38 'Spring': III - Scherzo: Allegro vivace
  4. Symphony No. 1 In B Flat Major, Op. 38 'Spring': IV - Allegro animato e grazioso
  5. Symphony No. 2 In C Major, Op. 61: I - Sostenuto assai - Allegro, ma non troppo
  6. Symphony No. 2 In C Major, Op. 61: II - Scherzo: Allegro vivace
  7. Symphony No. 2 In C Major, Op. 61: III - Adagio espressivo
  8. Symphony No. 2 In C Major, Op. 61: IV - Allegro molto vivace

Tracks:

  1. Symphony No. 3, op. 97 'Rhenish': 1. Lebhaft
  2. Symphony No. 3, op. 97 'Rhenish': Scherzo: Sehr Maessig
  3. Symphony No. 3, op. 97 'Rhenish': Nicht Schnell
  4. Symphony No. 3, op. 97 'Rhenish': Feierlich - (quasi attacca:)
  5. Symphony No. 3, op. 97 'Rhenish': Lebhaft
  6. Symphony No. 4, op. 120: Ziemlich langsam - Lebhaft - (attacca:)
  7. Symphony No. 4, op. 120: Romanze: Ziemlich Langsam - (attacca:)
  8. Symphony No. 4, op. 120: Scherzo: Lebhaft - Trio - (attacca:)
  9. Symphony No. 4, op. 120: Langsam - Lebhaft

Amazon.com essential recording

Leonard Bernstein was full of surprises. A conductor often accused of hopeless self-indulgence, he responded intuitively to the classical aesthetic of Haydn, and no less to the early Romantic bravado of Schumann. In fact, these symphonies have never been better played or conducted than they are here. These are performances of high passion--they're either very fast or very slow--and extraordinary color and drama. Bernstein sticks faithfully to the composer's original, thick orchestrations but makes each symphony work through playing of unflagging clarity and chamber music-like balance. That this was all done live, in performances of such wide emotional range, is amazing. But amazing was what Bernstein did best. --David Hurwitz

Customer Reviews:

3 out of 5 stars A recording from the far side of the pendulum........2007-01-24

Back in the 1950s and 60s when Leonard Bernstein was at his peak of popularity and reputation, it was common for conductors to put their own unmistakable and indelible stamp on/in the pieces of music they were recording and this was probably more true for Bernstein than for any other conductor. Gradually, the Early Music and Original Instrument movements began to hold sway in the following decades, producing a flurry of recordings that prided themselves upon being true to the composer's intentions and minimizing the interpreting liberties taken by the previous generation, often with interpretations that were long on research and short on beauty. Both positions of the interpretive pendulum are simplified extremes and are equally wrong-headed and unsuccessful.

There is no denying that Bernstein was a wonderful personality and great conductor and music-lover who brought the American music scene a giant step forward. However, now that some decades have passed since his passing, his contribution can perhaps be viewed and listened to more objectively. Thus, this recording of Schumann's four symphonies is classic Bernstein, the set having been recorded in the mid-1980s, yet is as ego-laden as one who is nostalgic for the 1960s as one could wish. Schumann himself stated that "The orchestra must exist as a Republic" and hated the idea of a virtuoso conductor who brings attention to himself and takes attention from the orchestra and the composition. I doubt Schumann would have liked this recording. The music is gushing, lugubrious, and bombastic, with every possible affectation. Sometimes, it works and sometimes it doesn't.

Part of the problem is that there is a perception that Schumann was a weak symphonist and terrible orchestrator, but that his symphonies (including the Overture, Scherzo, and Finale) contain such fine music that their blemishes are worth hiding behind the proper interpretation. In other words, Schumann's symphonies work, but require a bit of 'work'. If one hears any of the Nicholas Harnoncourt recordings of the symphonies, one realizes this is poppycock -- there, these symphonies are models of clarity and beauty. Nothing is overdone, yet Schumann seems to say so much more. In Bernstein's hands, everything is about himself. This is not all bad. In fact, the First Symphony's second movement is quite beautiful and very expressive, contrasting brilliantly with the strongly rhythmic first movement, which suffers only from being overplayed and bombastic. The sheer heaviness and ponderous quality of the playing is curious -- none of Schumann's orchestral details are allowed to speak, such as the trumpet/oboe couplings in the second movement of the Third Symphony. Unlike many other Schumannians I've met, I've always considered the Third his weakest symphony (wonderful though it is) and here, I can understand a few of Bernstein's interpretive liberties such as the choices of tempi of the coda of the fifth movement and the movement proper. However, the symphony certainly isn't improved with Bernstein's tenutos and sudden dynamic changes, especially near the ends of the first movement's exposition and recapitulation; the tonal palette in this movement (and in this symphony) is narrower than in the others, but such exaggeration is almost laughable.

Overall, one of my biggest gripes is Bernstein's choice of tempi. The Second Symphony's third movement (Adagio espressivo) is taken so slowly that the movement never builds any momentum at all -- it just lays there like a dying animal, waiting to expire. The second movement of this same symphony begins with a good tempo, not too fast and although too heavy for its Mendelssohnian scoring and musical intentions, is convincing enough. Schumann increases the tempo in the Coda, and here Bernstein takes it so fast, it bears little relation to what has preceded it. The result sounds like such a bravura affectation that the musical power of the movement is crushed under the weight of Bernstein's personality. The result doesn't make musical sense. The tempo at the end of the coda in the fourth movement of this wonderful symphony is slowed down I suppose to give it more power, but here is so exaggerated that it simply comes to a screeching halt.

However, Bernstein does coax some wonderful playing from his Viennese charges and the solo work in the Adagio of the Second (here played Largo) as well as the solo violin work in the Fourth and other instrumental solos throughout these symphonies is excellent. Although the clarity of the recording isn't the best (this is the 1980s), Bernstein does give admirable attention to the bass lines where Schumann's counterpoint requires it and the Coda of the Finale of the Fourth is certainly exciting and very powerful, starting with a long buildup in the basses where each note can almost be distinguished.

Underlining my point, Bernstein is at his best in the Fourth, where Schumann's obsessive rhythms in the first, third, and fourth movements as well as a series of odd instrumental doublings (winds and strings) and austere musical expression keep him in check. This has always been the least popular of Schumann's symphonies -- I can only assume this view was shared by Bernstein, because he does the least with/to it and it thus winds up being the best of this set.

Bernstein isn't for everyone and neither is this set. I'm of the opinion that Schumann is one of the greatest of all composers and though not flawless, his symphonies are a remarkable musical and technical achievement. But I wouldn't have that opinion had my listening been limited to interpretations like this one. I've yet to come across a recording of these works that is entirely to my liking; this one is too much Bernstein, not enough Schumann, yet I can appreciate Bernstein's passion and his obvious love for this great music.

3 out of 5 stars Maybe not the best recording quality.......2007-01-03

The interpretation of the symphonies is fine. The recording quality in some of the music is slightly dead. I don't think it was an orchestral problem, just a mechanical problem.

5 out of 5 stars The wisdom gaze!.......2006-12-12

These living recordings not only find Bernstein in total shape but still more in what it could be stated as a wisdom state. To my view, since 1971, the year in which Leonard decided to consider the possibility to choose Europe as his next stage and the definitive one, he acquired a renovated vision, and even a major stature as conductor. You may realize how his Mahler cycle, his musical thinking improved to unexpected levels.

In what Schumann concerns, few directors like him understood so well the artistic heritage and the tragedy beneath the score, because the Romanticism spirit was just the peak of the iceberg. The spring Symphony' s reading for instance, is sturdy, vivid and expansive. The Vienna Philharmonic with its wonderful, exultant, vigorous and penetrating sonorous density made the perfect ensemble. Maybe the Third movement is quite reflexive; I would have preferred a major intensity at the beginning of the movement but these are minor subtleties. This version may be labeled as one the seven supreme ones ever made until this date. If you consider Munch, Koussevitzsky, Fricsay, Paray, Sawalich Kubelik, yopu should not worry about it.

Bernstein reached an insurmountable peak when he decided to record the second symphony with the New York Philharmonic. This version is good but less idiomatic than the previous one. The Third Symphony has been a matter of discussion and admiration; its bucolic and Pastoral character makes of this sublime Symphony a real stone in the shoe for many directors incapable to decipher the minimum facets of this Op. Bernstein makes a sumptuous and refined reading but to my view his previous version with the NYC is notably superior.

The Fourth is notable too, with reflexive passages, beating introspectiveness and above all, the visible Mahlerian approach employed by Bernstein to underline the close affinity among both composers. This version, plus Paray, Abendrtoth, Rafael Kubelik, Furtwangler and Sawalich are the most representative versions I have listened until this date.

In sum this set is indispensable for all sort of listeners who will be able to understand why Leonard was considered a status conductor and a magnificent director during the past Century.

5 out of 5 stars Schumann the symphonist..........2006-12-10

It seems most people aware of Schumann these days associate him much more with his songs and solo piano works than with the four symphonies. That's understandable I suppose considering the quality of those pieces, but to me the symphonies are where the true introspective genius of Robert Schumann hit its peak.

By now I'm sure you've heard and read about how Schumann wasn't a great(or possibly not even a good) symphonist and how he failed miserably as an orchestrator. Nonsense I say. Sure his symphonies didn't shatter new musical boundaries or advance the system, but then again who really did after Beethoven?

Schumann's symphonies are indeed limited in orchestral colour but is that really a bad thing? Not everyone could be Rimsky-Korsakov and if everyone was, we'd all get bored with that really quick. Take a look at any of Claude Monet's winter scene paintings. Are these any less mesmerizing or poignant because the palette was so limited? I think not. If anything they are even more atmospheric and engaging than his more colourful works. The same principle applies here.

Perhaps some of the less than stellar recordings of these works have pushed people away. Fortunately for us, Bernstein was a master. He handles these works with precision and care and manages to bring each symphony to life in a way that most Romantic music fans could appreciate if they'd give this set a chance.

These recordings were done live which was always Bernstein's element. The energy and passion of a live performance is everywhere here and without the annoyances of audience noise and other such distractions that might mar your listening enjoyment.
At about $15 or so this should be a no-brainer for Schumann fans or those who want to get acquainted with the mad Romantic for the first time. Highest possible recommendation.




5 out of 5 stars Lenny found Mahler in Schumann!.......2006-10-25

I own the Szell recordings which finally convinced me that Schumann's symphonies were worth getting to know (Kubelik's readings on Sony just didn't do a thing for me), but listening to Bernstein's Schumann was like hearing an entirely different composer. I agree with another reviewer who wrote about his response to the Adagio in Symphony #2. Although I didn't have tears rolling down my face, it certainly grabbed me and wouldn't let go (Szell clocks-in at a little over 11 minutes; Bernstein over 13 - but its not overt indulgence like his Tchaikovsky 6th). It was like listening to Lenny's Concertgebouw Mahler 9th. It is wrenching. I wouldn't ever let go of Szell or Bernstein - both have much to say about this often maligned composer of symhonies.
Mozart: The Late Symphonies: Nos. 25, 29, 35, 36, 38, 39, 40, 41
Average customer rating: 4.5 out of 5 stars
  • 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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GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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Similar Items:
  1. Beethoven: The 9 Symphonies (Collectors Edition)
  2. Mozart: The Great Piano Concertos, Vol. 1
  3. Mozart: The Six String Quintets
  4. Mozart: The Great Piano Concertos, Vol. 2
  5. Mozart: Violin Concertos

ASIN: B0000942LO
Release Date: 2003-07-01

Tracks:

  1. I. Allegro Con Brio
  2. II. Andante
  3. III. Menuetto-Trio
  4. IV. Allegro
  5. I. Allegro Moderato
  6. II. Andante
  7. III. Menuetto-Trio
  8. IV. Allegro Con Spirito
  9. I. Adagio-Allegro
  10. II. Andante
  11. III. Presto

Tracks:

  1. I. Allegro Con Spirito
  2. II. Andante
  3. III. Menuetto-Trio
  4. IV. Presto
  5. I. Molto Allegro
  6. II. Andante
  7. III. Menuetto-Trio
  8. IV. Presto
  9. I. Molto Allegro
  10. II. Andante
  11. III. Menuetto: Allegretto-Trio
  12. IV. Allegro Assai

Tracks:

  1. I. Adagio-Allegro
  2. II. Andante Cantabile
  3. III. Menuetto: Allegretto-Trio
  4. IV. Finale: Allegro
  5. I. Allegro Vivace
  6. II. Andnate Cantabile
  7. III. Menuetto: Allegretto-Trio
  8. IV. Molto Allegro

Customer Reviews:

4 out of 5 stars 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.

5 out of 5 stars 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?!?!

4 out of 5 stars 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.

4 out of 5 stars 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.

5 out of 5 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: 4.5 out of 5 stars
  • 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 MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
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Similar Items:
  1. Mozart: The Piano Concertos
  2. Bach: Concertos
  3. Haydn: Complete Symphonies (Box Set)
  4. Dvorák: The Symphonies
  5. Mendelssohn: 5 Symphonies; 7 Overtures

ASIN: B000069KJ3
Release Date: 2002-10-08

Tracks:

  1. Molto Allegro
  2. Andante
  3. Presto
  4. Allegro Assai
  5. Andante
  6. Presto
  7. Allegro
  8. Andante
  9. Presto
  10. Allegro
  11. Andante
  12. Molto Allegro
  13. Allegro Maestoso
  14. Andante
  15. Presto
  16. Allegro
  17. Andante
  18. Menuetto - Trio
  19. Allegro

Tracks:

  1. Molto Allegro
  2. Andante
  3. Menuetto - Trio
  4. Molto Allegro
  5. Allegro
  6. Andante
  7. Menuetto - Trio
  8. Molto Allegro
  9. Allegro
  10. Andante
  11. Menuetto - Trio
  12. Molto Allegro
  13. Allegro Maestoso
  14. Andante
  15. Menuetto - Trio
  16. Allegro
  17. Allegro
  18. Andante
  19. Menuetto - Trio
  20. Allegro
  21. Allegro
  22. Andante
  23. Allegro Molto

Tracks:

  1. Allegro
  2. Andante
  3. Menuetto - Trio
  4. Presto
  5. Allegro
  6. Andante
  7. Menuetto - Trio
  8. Allegro
  9. Allegro
  10. Andante
  11. Allegro
  12. Allegro
  13. Andante
  14. Menuetto - Trio
  15. Allegro Molto
  16. Allegro
  17. Andantino
  18. Menuetto - Trio
  19. Allegro
  20. Allegro
  21. Andante
  22. Menuetto - Trio
  23. Molto Allegro

Tracks:

  1. Allegro
  2. Andante
  3. Allegro
  4. Allegro
  5. Andante
  6. Menuetto - Trio
  7. Allegro
  8. Allegro
  9. Andante
  10. Menuetto - Trio
  11. Molto Allegro
  12. Allegro Moderato
  13. Andante
  14. Menuetto - Trio
  15. Molto Allegro
  16. Allegro
  17. Andante
  18. Menuetto - Trio
  19. Presto

Tracks:

  1. Allegro Maestoso
  2. Andante Grazioso
  3. Allegro
  4. Allegro
  5. Andante
  6. Allegro
  7. Allegro
  8. Andantino Grazioso
  9. Menuetto - Trio
  10. Molto Allegro
  11. Allegro
  12. Andante
  13. Menuetto - Trio
  14. Allegro
  15. Molto Presto
  16. Andante
  17. Allegro

Tracks:

  1. Allegro
  2. Andante
  3. Menuetto - Trio
  4. (Allegro)
  5. Allegro
  6. Andante
  7. Menuetto - Trio
  8. Allegro
  9. Allegro Assai
  10. Andantino Grazioso
  11. Presto Assai
  12. Allegro Spiritoso
  13. Andantino Grazioso
  14. Presto Assai
  15. Allegro
  16. Andantino Grazioso
  17. Presto

Tracks:

  1. Allegro Spiritoso
  2. Andantino Grazioso
  3. Allegro
  4. Allegro Con Brio
  5. Andante
  6. Menuetto - Trio
  7. Allegro
  8. Molto Allegro
  9. Andantino Con Moto
  10. Menuetto - Trio
  11. Presto
  12. Allegro Assai
  13. Andante
  14. Allegro

Tracks:

  1. Allegro Moderato
  2. Andante
  3. Menuetto - Trio
  4. Allegro Con Spirito
  5. Allegro Spiritoso
  6. Andante
  7. Menuetto: Allegretto - Trio
  8. Presto
  9. Allegro Assai
  10. Andante Moderato
  11. Menuetto - Trio
  12. Allegro Assai

Tracks:

  1. Allegro Spiritoso
  2. Andante
  3. Tempo Primo
  4. Allegro Vivace
  5. Andante Di Molto Piu Tosto Allegretto
  6. Finale: Allegro Vivace
  7. Allegro Con Spirito
  8. Andante
  9. Menuetto - Trio
  10. Presto
  11. Adagio - Allegro Spiritoso
  12. Andante
  13. Menuetto - Trio
  14. Presto

Tracks:

  1. Adagio - Allegro
  2. Andante
  3. Presto
  4. Adagio - Allegro
  5. Andante Con Moto
  6. Menuetto: Allegretto - Trio
  7. Finale: Allegro

Tracks:

  1. Molto Allegro
  2. Andante
  3. Menuetto: Allegretto - Trio
  4. Allegro Assai
  5. Allegro Vivace
  6. Andante Cantabile
  7. Menuetto: Allegretto - Trio
  8. Molto Allegro

Customer Reviews:

5 out of 5 stars 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.

5 out of 5 stars 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.

5 out of 5 stars 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!

2 out of 5 stars 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.

4 out of 5 stars 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.
Baroque Masterpieces
Average customer rating: 5 out of 5 stars
  • Baroque Masterpieces
  • Great short Baroque piece collection
  • Excellent Baroque Collection
 Baroque Masterpieces

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005YQL6
Release Date: 2002-01-29

Tracks:

  1. Canon In D Major - Johann Pachelbel
  2. Suites De Symphonies No. 1: I. Rondeau - Jean-Joseph Mouret
  3. Adagio In G Minor - Tomaso Albinoni
  4. Little Suite From The 'Anna Megdalena Notebook': I. Menuett In G Major, BWV Anh. 114 - Johann Sebastian Bach
  5. Little Suite From The 'Anna Megdalena Notebook': II. Musette In D Major, BWV Anh. 126 - Johann Sebastian Bach
  6. Little Suite From The 'Anna Megdalena Notebook': III. 'Bist Du Bei Mir', BWV 508 - Johann Sebastian Bach
  7. Little Suite From The 'Anna Megdalena Notebook': IV. Marche In D Major, BWV Anh. 122 - Johann Sebastian Bach
  8. Orfeo Ed Euridice: Dance Of The Blessed Spirits - Christoph Willibald Gluck
  9. Trumpet Voluntary - Jeremiah Clarke
  10. Solomon: The Arrival Of The Queen Of Sheba - George Frideric Handel
  11. Concerto Grosso In G Minor, Op. 6 No. 8: Pastorale Ad Libitum - Arcangelo Corelli
  12. Berenice: Overture - George Frideric Handel
  13. Abdelazer: Rondeau - Henry Purcell
  14. Xerxes: Largo - George Frideric Handel
  15. Belshazzar: Martial Symphony - George Frideric Handel
  16. Saul: Dead March - George Frideric Handel
  17. Cantana BWV 147 Herz Und Mund Und Tat Und Leben: Jesu, Joy Of Man's Desiring - Johann Sebastian Bach
  18. Judas Maccabaeus: See, The Conquering Hero Comes - George Frideric Handel
  19. Samson: Let The Bright Seraphim - George Frideric Handel
  20. Suite For Strings: I. Sarabanda. Largo - Arcangelo Corelli
  21. Suite For Strings: II. Giga, Allegro - Arcangelo Corelli
  22. Suite For Strings: III. Badinerie. Vivace - Arcangelo Corelli

Customer Reviews:

5 out of 5 stars Baroque Masterpieces.......2007-07-07

The music was very good but wish they had more to listen too. Not enough bang.

5 out of 5 stars Great short Baroque piece collection.......2005-02-05

This CD has 17 pieces on 22 tracks including 7 by Handel, 2 each by Bach & Corelli, and 1 each by Pachelbel, Mouret, Albinoni, Gluck, Clarke, & Purcell. They are frequently the best known piece by the composer--and easily recognizable: Pachelbel's Canon, Mouret's Rondeau (theme from PBS' Masterpiece Theater), Albinoni's Adagio, etc. If you like high quality short pieces/excerpts, this CD is for you. My only qualification is: no Telemann, but it's just too good for a 4-star rating.

5 out of 5 stars Excellent Baroque Collection.......2003-07-22

As I have stated in many of my previous reviews, I am a huge fan of the Sony Essential Classics (SEC) budget series. Most of the recordings feature classic and often definitive performances featuring the likes of George Szell, Leonard Bernstein, Robert Casadesus, Isaac Stern and Rudolf Serkin among others. Here we get a variety of orchestras and conductors including big names like Jean-Claude Malgoire, Raymond Leppard, Pierre Boulez, Sir Charles Groves and the great Eugene Ormandy. This disc features excellent performances of what is arguably the most popular Baroque music ever written. I am not usually one to give five-star ratings to greatest-hits style collections (particularly in classical), but the half-dozen performances by Ormandy make this disc a great purchase for both novices and serious collectors.
Mozart: Symphonies Nos. 38 "Prague" & 41 "Jupiter"
Average customer rating: 5 out of 5 stars
  • Great symphonies and a great recording
  • A Prague unlike any other
  • A Jupiter unlike any other
 Mozart: Symphonies Nos. 38 "Prague" & 41 "Jupiter"

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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  5. Mozart: La Clemenza di Tito

ASIN: B000L421NY
Release Date: 2007-03-20

Tracks:

  1. I. Adagio - Allegro
  2. II. Andante
  3. III. Finale. Presto
  4. I. Allegro Vivace
  5. II. Andante Cantabile
  6. III. Menuetto. Allegretto - Trio
  7. IV. Molto Allegro

Amazon.com

These lively, vital performances of two of Mozart's greatest symphonies are exquisitely detailed, quick, and filled with dark-light contrasts despite the small size (35 piece) of the Freiburger Barockorchester. Because the recording is so clear and the playing so crisp, we never get the feeling that Jacobs has "miniaturized" these works; indeed, the brass and drums sound out with particular triumph and brilliance, offering a truly grand sound. He approaches these late works the way he does the operas, with drama and as if a dialogue were taking place at all times. Aficianados will note some small embellishments here and there - in the winds particularly - and they are most welcome. The fugue at the close of the Jupiter is crystal clear and dizzyingly entertaining, just as it should be, and it's impossible to tune out at any point during these performances. Those who know these two works will hear brand new sonorities and subtleties and newcomers will be dazzled by their verve. Just remarkable, in every way. --Robert Levine

Customer Reviews:

5 out of 5 stars Great symphonies and a great recording.......2007-06-07

This particular album was recommended by a newspaper reviewer, and he was right - this is a truly wonderful recording of two of the finest Mozart symphonies, the Prague and Jupiter.

5 out of 5 stars A Prague unlike any other.......2007-05-01

The first movement of the Prague is 150% perfect, the second movement is 200% perfect, the third movement is 250% perfect. It just gets better and better. More and more exciting. This performance is unbelievably good, amazing, spectacular. I'll continue listening to this recording back-to-back day-after-day for awhile.

Now, for the Jupiter, it's less clean and less colorful and less imaginative than the Prague -- at least to my ears. It's a very lively and lovely performance/recording, definitely, absolutely. But it's lacking something, I find. It's very exciting, for sure.

i worship Rene Jacobs (as a conductor)... i love marc minkowski's recent mozart symphonies disc, which has my favorite gminor symphony (#40), but i found his jupiter missing a little something as well (though i like it more than jacobs)... this disc, Rene Jacobs, definitely has my favorite Prague.

my favorite Jupiter, hmm, probably Giulini/Berlin on DG -- a VERY hard to find disc.

5 out of 5 stars A Jupiter unlike any other.......2007-04-12

The idiosyncratic style of Jacobs' Mozart opera series carries over into the Prague symphony with great effect, giving a wholly operatic reading of this great symphony that is in a league of its own. With the Jupiter, however, Jacobs takes us into the world of Schubert, specifically the 3rd and 6th symphonies. This is a Mozart less promethean than one who can dance and set us to dancing with him. An absolutely incredible reading that should be heard by any lover of Mozart, whether that love be with the Mozart of Bohm, Klemperer, Walter, Kertesz or the Mozart of Jane Glover, Hogwood, or Jap ter Linden. An absolute must.
Robert Schumann: Symphonies Nos. 1-4
Average customer rating: 5 out of 5 stars
  • Schumann in Bite-Size Bits
  • Schumann singing out afresh
  • Bracing Schumann: poetry + poise + heart
  • OK, and not the first set to dust off traditions
  • The Finest Schumann Symphonies Collection Available
 Robert Schumann: Symphonies Nos. 1-4

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

All Works by Robert SchumannAll Works by Robert Schumann | Schumann, Robert | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
RomanticRomantic | Symphonies | Forms & Genres | Classical | Styles | Music
GeneralGeneral | Symphonies | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
Similar Items:
  1. Beethoven: Complete Overtures
  2. Beethoven: Piano Concertos 3 & 4
  3. Beethoven: The Nine Symphonies
  4. Beethoven: Triple Concerto; Septet
  5. Beethoven: Violin Concerto; Violin Romances

ASIN: B0007PLKS4
Release Date: 2005-03-22

Tracks:

  1. I. Andante Un Poco Maestoso
  2. II. Larghetto
  3. III. Scherzo: Molto Vivace
  4. IV. Allegro Animato E Grazioso
  5. I. Sostenuto Assai
  6. II. Scherzo: Allegro Vivace
  7. III. Adagio Espressivo
  8. IV. Allegro Molto Vivace

Tracks:

  1. I. Lebhaft
  2. II. Scherzo: Sehr Massig
  3. III. Nicht Schnell
  4. IV. Feierlich
  5. V. Finale: Lebhaft
  6. I. Ziemlich Langsam
  7. II. Romanze: Ziemlich Langsam
  8. III. Scherzo: Lebhaft
  9. IV. Langsam. Finale: Lebhaft

Album Description

"Excellence at this level serves only to renew our faith both in the vitality of the classics and in the ability of today's interpreters to triumphantly stand toe to toe with the greatest recorded documents of the past." (10/10 rating!)-CLASSICS TODAY

"In this cycle of the Symphonies with the Zurich Tonhalle Orchestra, Zinman reveals Schumann every bit as great as his friends Mendelssohn and Brahms and nearly as great as his idols Schubert and Beethoven. In Zinman's hands and as realized by the Zurich Orchestra, Schumann's First is charming and courageous, his Second is darkness and fright, his Third is awe and delight, and his Fourth is darkness to light. The Zurich Orchestra plays with a strong, warm tone and deep, radiant colors. Arte Nova's sound is richly detailed and lushly reverberant. One of the great Schumann cycles. Anyone who loves Schumann's music or German Romantic symphonies will love these discs." -ALL MUSIC GUIDE

Customer Reviews:

3 out of 5 stars Schumann in Bite-Size Bits.......2006-05-18

I read the superlatives about this set and ordered it. It has very precise sound, very precise playing and it is all just so tidy and neat I can't enjoy it. The music lacks sweep, grandeur and passion. It seems to be measured out into bite-sized pieces or maybe teaspoons, a la Prufrock. Every digitized bit is precise, serially neat and easily digested, meaning the music lacks continuity and sweep - yes, sweep. I feel I am reading a book intended for a seventh-grader. I suppose one could get away with playing Haydn this way, but not Schumann. I will make the ritual recitation that I am familiar with von Karajan's set, Gardiner's, Muti's, Bernstein's second set, Szell's, Solti's, as well as Sawallisch's. Sawallisch is still my favorite, by far. Sawallisch brings you music that is voluptuous and glorious in its romanticism and accomplished musicality. I can't imagine any among the available crop of renditions making Schumann himself happier than Sawallisch's might, with the Dresden Staatskapelle - a precise but powerful instrument. Playing his set is like finding a long-lost lover. On a gorgeous spring day, full of promise and sunshine, Sawallish's Rhenish symphony takes me as far as recorded music can toward the world Schumann rendered into music. Zinman is a gifted conductor and his set is well-recorded but I don't want to play it any more. I'm glad it was not expensive.

5 out of 5 stars Schumann singing out afresh.......2006-01-25

I have already had in my collection for a few years David Zinman's recording of all four Schumann Symphonies with the Baltimore Symphony Orchestra on Telarc, and I thought those were just fine. They have a natural flow and balance, and a very nice kind of polish (helped by the Telarc technicians). 'Civilized' is what springs to mind, but with a touch of Romantic grandure.
Now these new recordings with the Tonhalle Orchestra Zurich are maybe even finer - at least different; even more zestful, more energetic; and also more relief in the soundpicture. The balances here are somewhat shifted, mainly that instruments/instrument groups and accents are often more pronounced, which makes the music sound even more fresh and lively, more in the vein of a period instrument performance, but then played with a combination of both modern and period instruments. (Period instruments are used for: horns, trumpets, alto trombone, tenor trombone and bass trombone; violins, violas, cellos, double basses, flutes, oboes, clarinets and bassoons are modern.) The best of both worlds, surely; whoever thought this up must be a d*mn genius, for it all blends perfectly and it all sounds completely true and natural. The First or 'Spring' Symphony (maybe the high point of this cycle) has maybe never sounded so invigoratingly fresh!
This freshness of playing is surely also helped by the crisp and direct recording, which is maybe even better than for Telarc: a little clearer and a little more acoustic space around the instruments. And also, everywhere the speeds are (almost) all consistently faster. I like that; it never sounds hurried to my ears. On the contrary, to my (amateur) ears these more 'pressing' speeds underline the consistent genius of Schumann and make these works sound like the coherent masterpieces that they undoubtedly are. And at the same time Zinman and the Tonhalle Orchestra Zurich invigorate the music with new energy and freshness.
This newly recorded cycle is a gem (not even considering the impossibly low price for which it sells!). I have done a long time with Zinman's earlier Baltimore set - which I still love -, and with this new addition I really will not be needing anything else for a very long time ... IMHO Schumann really is one of the greatest symphonists, and it is proved here - again - by Zinman. Simply wonderful!

5 out of 5 stars Bracing Schumann: poetry + poise + heart.......2005-12-04

Anyone who has heard and appreciated Zinman's complete set of the Beethoven Symphonies with the Tonhalle Zurich, will get the point of this new issue, a complete set of the four Schumann Symphonies, again with the Tonhalle.

Zinman isn't afraid of setting tempos whose speeds are more commonly met by period instrument groups. As with the Beethoven readings, he uses newly edited sources, and plays everything to the hilt. The Tonhalle seems quite reduced in size in these recordings, such that strings zip along in an altered balance with brass and with woodwinds, compared to the older, slower, heavier performance manner most world orchestra's inherited from the nineteenth century bands (who tended to play in larger and larger halls as time passed and the middle class flocked to concerts as to social occasions).

Any past muddiness in the orchestral texture simply disappears in this edition. This clarity of texture is enhanced further with the genius of Zinman's verve. In some passages, chamber music textures are easily achieved, making you revise your opinions of Schumann's orchestral genius. Even going full tilt, Zinman keeps the touch light and lively and agile.

You feel as if you are meeting the young Schumann for the first time, especially as the First Symphony takes off. He has a glint in his eye, does this fellow. Small wonder that Clara's father realized he'd better rope off this visitor a bit around his daughters. This is the kind of Spring season that makes you want to leave the house, without a coat, finally unencumbered by winter. Let fall, all cold weather reticence, and heavy clothing. Depending on just how young you feel, this first symphony may make you want to strip down further, just to feel the Spring breezes on your skin in places where polite musical conversation isn't exposition, but falls back into a murmur, musing out loud about nothing and everything lovely in particular.

Fortunately, even with all this lightness and the reduced size of the Tonhalle, there is still enough weight to make the stronger musical points, though without the kinds of heavy, Romantic indulgence we have sometimes accepted as the norm. Indeed the alleged heaviness of Schumann's orchestrations is nowhere in evidence here. A quicksilver metamorphosis inhabits this music, and Zinman almost uniquely let it play among the high gifts of each department of the Tonhalle orchestra.

Continuing through the remaining three symphonies, Zinman just keeps making fresh magic in his performances of each of the remaining three. The second symphony's slow movement (for example) isn't the least bit ponderous, but doesn't lose one ounce of its lyrical heart in the alchemical process of its lightening. In fact, with the more transparent orchestral textures Zinman crafts with his marvelous Tonhalle players, you hear many passing moments of felicity in woodwind or string phrasing. These moments are there, too, in the older, heavier performances; but just easier to hear with Zinman. Can it be that Zinman will help you hear and re-hear your older Romantic readings of these symphonies? Seems possible, if you pay attention to the lessons he is teaching.

With the Third Symphony, Zinman manages to bring more shadow, more seriousness to phrasing. Tempos slow down, ever so slightly, so that maestoso can be conveyed, rhetorically. Zinman and band also pass the critical feierlich test in the odd movement, said to have been evoked on the occasion of a holy elevation of an archbishop at Cologne Cathedral. Throughout the horn and brass are burnished, with solos that carry drama and narrative substance. While in the first two symphonies the horns and trombones were blended more with the other brass and woodwinds, their special Solemnity is captured here, even with reduced forces. The slow movement, preceeding the feierlich one, is another miracle of musical inflection and phrasing, without for one second sounding indulgent or mannered. The spirit of chamber music is revealed in this music, every bit as much as the spirit of the symphony.

The Fourth Symphony provides a fitting conclusion to the set. I found myself wishing that Schumann had had more confidence in himself as an orchestral composer, so fetching is the music made throughout this set of four. Who wants it to end? But end it does, with Schumann setting out the ground rules for innovative cyclical form in music; lessons not lost on many of his contemporaries and descendants. As it happens, the added maestoso touches heightened in the second and third symphonies, continue into and throughout the Fourth. The tempo changes no longer seem so awkward, and a contrapuntal depth of story consistently emerges via the enabling consensus of the players.

Truly, there are other valid approaches to Schumann. I will still return to the shelf where sit older, prized red book CD performances. Sinopoli and Vienna doing the Second Symphony. Haitink and the Concertgebouw doing all four. And, can it be? Zinman and Baltimore on pre-SACD Telarc show how to play these symphonies with something like the old, burning Romance. I also listen to Solti, Kubelik, Karajan, Klemperer, Mehta - and as they become available again, James Levine with the Philadelphia Orchestra.

The nice thing is, at this price, you really don't have to do without much except maybe a few pricey Lattes, just because you purchased this set. The sound is good enough to completely get out of the way of the music, letting you hear everything Zinman and Tonhalle are doing. The hall isn't especially present, except in those larger moments when it resounds, and the venue point is made.

Five stars, stars, stars, stars. Highly recommended. Do check out the earlier Zinman with Baltimore, now newly released on midpriced Telarc. And do look out for James Levine/Philadephia as they re-appear.

5 out of 5 stars OK, and not the first set to dust off traditions.......2005-09-26

This is an decent set and a good recommendation but after a few more listens I would rewrite this and downgrade it a star and a half (something you can't do when you re-edit a published review).

PRIMARILY

It's getting a bit tiresome reading reviews of new Schumann where each new entry "finally gets it right" or "reveals new and deep insights into Schumann's music" or other such rubbish. Szell's old set is great, Bernstein's first set is terrific, Paray's ancient recordings on Mercury are a revelation, and plenty think Furtwangler's Fourth is amazing. Then there's the completely unknown recent set with Florian Merz and a Dusseldorf orchestra--totally nutty and fun. There're plenty more, including Harnoncourt's readings that at times are transcendental.

Think about it. If Schumann was the incompetent, psychotic, lame-o that many paint him to have been, then why in heck did so much of his music, and especially these symphonies, stay in the repertoire for so danged long? I seriously doubt 150 years of playing "mud" (as many have described his so-called bad orchestration) would have endeared his music to too many. I seriously doubt that great conductors of previous generations couldn't have figured out how to make this music sound right; that it took a Gardiner or a Zinman to finally make sense of it.

Also, enough with the "crazy" thing. Bruckner was OCD big-time and nobody feels obliged to mention that in every review of a Bruckner symphony. Plenty of other great artists have gone bonkers and we let it go. To listen to Schumann looking endlessly for symptoms of bi-polarity is a waste of time. Sonata form is, almost inherently and by definition, "bi-polar." Exciting or emotional music is not "mania." Enough already.

[Added note: I'm bothered by the growing "hysteria" over some newer recordings that are, with reflection, competent and entertaining--like these--without being spectacular. I sense, and hopefully I'm wrong, a generation of listeners who haven't heard a lot of the old masters conducting or are, worse, avoiding them because of earlier recording technology limitations. I'm one of those grouches who argues that a grizzled German conductor who played skittle with Richard Strauss and drilled his orchestra like a Prussian officer may have had an edge--interpretation-wise--over, say, some modern 38-year-old suburbanite Julliard grad or similar who is wrapped up in a lot of PR and promotion hype. Sorry, but a wunderkind like Simon Rattle is not going to plumb the depths of Mahler as well as Bruno Walter, who was Mahler's assistant. The standard repertoire is, historically, fading fast, and with few exceptions (Shostakovich's, Britten's) there aren't many acknowledged and frequently played masterpieces after Bartok wrote the Concerto for Orchestra in the 1940s. Scary but true. So we're looking at a generation of conductors rapidly getting out of touch with the bulk of great Western art music]

5 out of 5 stars The Finest Schumann Symphonies Collection Available.......2005-09-26

David Zinman keeps a low profile and aims all of his energies toward making music, and 'making music' is precisely what he accomplishes in this set of all four of Robert Schumann's symphonies. While there are other individual recordings and some complete collections of these works that have found favor with the Romantic audience, this set provides Zinman and his Zurich Tonhalle Orchestra the access to the top of the mound!

Schumann's life and work are the topics of many poets, writers, critics, and scholars and at times his melancholia and sad demise overshadow his exemplary compositions. While most accept him as one of the most important lieder composers, standing proudly beside Schubert and Hugo Wolf, his symphonies are often consider passé. But Zinman and his orchestra grandly demonstrate that far from being secondary works, these four symphonies rival the majesty and imagination of Brahms, Mendelssohn, and even Mahler and Beethoven? Heresy? Just listen to these very alive, illuminating readings of these forward looking works and hear your ears and heart change their minds.

Each of the four works stands equally, though many (as this listener) may find the treasureable Spring Symphony (No. 1) the crowning performance. Zinman favors brisk tempi, clarity of phrasing, and the rapture of the Romantic vision and the result is simply some of the finest orchestral playing and sound on recording. Add to this the inexpensive price tag for this 2 CD set and there leaves no reason not to build your library with works that deserve a prime position. The recorded sound is rich and full while delineating every detail and nuance. Highly Recommended. Grady Harp, September 05
Mozart: Symphonies Nos. 36 & 38
Average customer rating: 5 out of 5 stars
  • Pure Chemistry!
  • Symphonic opera
  • good alternative
  • Great Music
  • Mackerras never disappoints
 Mozart: Symphonies Nos. 36 & 38

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
ClassicalClassical | Symphonies | Forms & Genres | Classical | Styles | Music
GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Symphonies | Classical | Styles | Music
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CDs $7 - $10CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music
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Similar Items:
  1. Mozart: Symphonies No.25, No.28 & No.29
  2. Mozart: Symphonies Nos. 40 & 41
  3. Mozart: Symphony No. 32; Symphony No. 35; Symphony No. 39
  4. Mozart: Symphonies Nos. 31, 33, 34
  5. Mozart: Symphonies 24, 26, 27, & 30

ASIN: B000003CUE
Release Date: 2003-04-22

Tracks:

  1. I. Adagio/Allegro Spiritoso
  2. II. Poco Adagio
  3. III. Menuetto: Trio
  4. IV. Finale: Presto
  5. I. Adagio/Allegro
  6. II. Andante
  7. III. (Finale) Presto

Amazon.com

Mozart's 36th and 38th symphonies are both named after the cities in which they were first performed: Linz and Prague, respectively. It's wholly appropriate, then, to have the Prague Chamber Orchestra in No. 38, although the truth is they do No. 36 just as well, of course. These effervescent performances offer a refreshing view of both works, and Telarc's sound is superb. Lovely. --David Hurwitz

Customer Reviews:

5 out of 5 stars Pure Chemistry!.......2007-03-09

These are without a doubt the most envigorating and faithful interpretations of these two Mozart symphonies I've heard. It's hard to describe, but Sir Charles Mackerras and the Prague Orchestra share something intangible on this disc, a remarkable musical chemistry that you will only believe if you hear it! As with the other recordings in this Mozart cycle, the tempos may be faster than in other versions, but it just sounds so right and they are played with so much conviction. I highly recommend this disc to anyone who treasures Mozart and/or classical music in general.

5 out of 5 stars Symphonic opera.......2004-12-14

I've heard several other versions of these two symphonies, and this CD still contains my favorite interpretations of both. Mozart wrote the "Prague" symphony for the city that loved his operas, and the spirit of opera buffa permeates both these works. This recording is not for those who like their Mozart to be polite--if anything, the spirit of these interpretations borders on raucousness. Yet it's welcome raucousness, as Mackerras displays his usual meticulous attention to detail, and the Prague Chamber Orchestra plays with an almost reverent precision (which stands to reason, since one of these symphonies is theirs in spirit and in name). Expect flowing, lyrical andantes (the slow movement of the Prague features some of the most tender playing I've yet heard from this orchestra and conductor), a spirited Linz minuet, and hearty, thrilling outer movements. By the end of the Linz symphony, you'll be grinning; by the end of the Prague, you'll be smiling from ear to ear. These two symphonies were obviously intended to be fun (albeit perfectly constructed, brilliantly inventive fun), and it's nice to have a recording that conveys that feeling. It'll be hard to go back to your old recordings once you've heard this one. Play it loud!

5 out of 5 stars good alternative.......2004-08-27

mackerras is a good alternative to the big band readings of bohm, walter, etc. the prague orchestra plays with light, chamber orchestra-like textures that work well for mozart. as expected, the tempos are brisk and the music - especially the outer movements - is exciting. but the thing that surprised me was the slow movements. i've always found mozart's slow movements to be a little dull, but this disc opened my eyes to their beauty. maybe it was the faster tempos that did it. a good disc. highly recommended.

5 out of 5 stars Great Music.......2003-06-10

This is one of the best CD of Mozart music I've ever heard. It is amazing how well the music was performed. Also, the music itself is great.

This is a must for everyone.

5 out of 5 stars Mackerras never disappoints.......2000-01-14

I agree with the unidentified music fan below in his rave for this recording, particularly his comments about the Prague, which is the recording that first drew me to Mackerras' Mozart symphonies. The first movement of the Linz *is* slower than you might expect, given Mackerras' break neck tempi elsewhere (e.g., the last mvt of the Linz and the first of the Prague), but I wouldn't say the tempo is problematic in the least. In fact, the adagio introduction is a little on the quick side, while the subsequent allegro seems well-paced.

Mackerras' interpretations are crisp and contrapuntally clear; tempi are in general brisk -- in short everything you'd expect from a "period instrument" recording, except without the period instruments. Those who like "historically informed performance" (HIP) recordings will appreciate this and will not miss the authentic instruments. The bonus, and what makes these recordings rise above the burgeoning number of HIP Mozart recordings, is Mackerras' attention to phrasing and articulation.

A couple of examples: conductors seem to traditionally shy away from Mozart's sforzandi (e.g., Walter's recordings), perhaps thinking them too kitchy. Mackerras' and the Prague CO's sforzandi are always present, clear and expertly articulated. Also, Mackerras' clarity brings out details that are sometimes lacking in other recordings, like the moment in the Prague, in the minor inflected version of the second theme of mvmt 1 where the two bassoon answer the strings. The bassoons ring out clearly and are balanced with the rest of the orchestra such that they become almost soloists. Listen to Walter, Horenstein, Karajan, Bohm, even Hogwood -- all seem to consider this crucial moment to be "background", and the bassoons are balanced accordingly softly. But there are many other examples -- in every bar there seems to be a surprise.

Note that Mackerras' always observes the exposition repeat, where Mozart indicated one (there is none, e.g., in the Haffner), but he often repeats the 2nd half also (development through coda)! In this volume, this happens, e.g., in the last mvmt of the Linz and the first of the Prague. I like this, but it may not be to everyone's taste. I don't know what the scholarly rationale for this is, but I suppose there must be one. In the end, I don't care, though, because it seems to suit the music and to be so *right*.

The notes (can't remember if it's the notes to this volume or another volume in the set) claim a tradition in Prague of Mozart interpretation inherited in an unbroken line from Mozart's time in that city. I don't know whether this is true, but the Prague players seem to have Mozart's number, and this is some of the most memorable, natural, easy-flowing Mozart performance you will ever hear. Much of the praise I heap on this volume applies to the entire set, BTW. Apologies for being long-winded!
Mozart: The Symphonies (Nos 1-41, plus 27 other symphonic works) /AAM * Schroder * Hogwood
Average customer rating: 4.5 out of 5 stars
  • The original, original instrument take
  • The most complete set of Mozart symphonies ever recorded
  • Indispensable
  • Ok, but....
  • A milestone set, and worthy of all praise
 Mozart: The Symphonies (Nos 1-41, plus 27 other symphonic works) /AAM * Schroder * Hogwood
Wolfgang Amadeus Mozart , The Academy of Ancient Music , Christopher Hogwood , and Jaap Schroder
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
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Similar Items:
  1. Beethoven - The Symphonies / Augér, Robbin, Rolfe Johnson, Reinhart, AAM, Hogwood
  2. Mozart - Requiem / Kirkby · Watkinson · Rolfe Johnson · D. Thomas · AAM · Hogwood
  3. Mozart: The Piano Concertos
  4. Mozart - Clarinet Concerto & Oboe Concerto / Pay, Piguet, AAM, Hogwood
  5. Bach: Concertos

ASIN: B000004CYS
Release Date: 1997-06-24

Tracks:

  1. Symphony No. 1 In E Flat Major, K.16: I. Allegro molto
  2. Symphony No. 1 In E Flat Major, K.16: II. Andante
  3. Symphony No. 1 In E Flat Major, K.16: III. Presto
  4. Symphony No. 4 In D Major, K.19: I. Allegro
  5. Symphony No. 4 In D Major, K.19: II. Andante
  6. Symphony No. 4 In D Major, K.19: III. Presto
  7. Symphony In F Major, K.19a-Anh.223: I. Allegro assai
  8. Symphony In F Major, K.19a-Anh.223: II. Andante
  9. Symphony In F Major, K.19a-Anh.223: III. Presto
  10. Symphony No. 5 In B Flat Major, K.22: I. Allegro
  11. Symphony No. 5 In B Flat Major, K.22: II. Andante
  12. Symphony No. 5 In B Flat Major, K.22: III. Allegro molto
  13. Symphony In D Major, K.32: I. Molto allegro
  14. Symphony In D Major, K.32: II. Andante
  15. Symphony In D Major, K.32: III. Menuetto & Trio
  16. Symphony In D Major, K.32: IV. Finale
  17. Symphony In D Major, K.81-K.783l: I. Allegro
  18. Symphony In D Major, K.81-K.783l: II. Andante
  19. Symphony In D Major, K.81-K.783l: III. Allegro molto
  20. Symphony In D Major, K.97-K73m: I. Allegro
  21. Symphony In D Major, K.97-K73m: II. Andante
  22. Symphony In D Major, K.97-K73m: III. Menuetto & Trio
  23. Symphony In D Major, K.97-K73m: IV. Presto

Tracks:

  1. Symphony In D Major, K.95-K73n: I. Allegro
  2. Symphony In D Major, K.95-K73n: II. Andante
  3. Symphony In D Major, K.95-K73n: III. Menuetto & Trio
  4. IV. Presto
  5. Symphony No. 11 In D Major, K.84-K73q: I. Allegro
  6. Symphony No. 11 In D Major, K.84-K73q: II. Andante
  7. III. Allegro
  8. Symphony No. 10 In G Major, K.74: I. Allegro - Andante
  9. Symphony No. 10 In G Major, K.74: II. Rondo (Allegro)
  10. Symphony In D Major, K.87-K74a: I. Allegro
  11. Symphony In D Major, K.87-K74a: II. Andante grazioso
  12. Symphony In D Major, K.87-K74a: III. Presto
  13. Symphony In D Major, K.120-K.111-111a: I. Allegro assai
  14. Symphony In D Major, K.120-K.111-111a: II. Andante grazioso
  15. Symphony In D Major, K.120-K.111-111a: III. Presto
  16. Symphony In C Major, K.96-K.111b: I. Allegro
  17. Symphony In C Major, K.96-K.111b: II. Andante
  18. Symphony In C Major, K.96-K.111b: III. Menuetto & Trio
  19. Symphony In C Major, K.96-K.111b: IV. Allegro molto
  20. Symphony No. 13 In F Major, K.112: I. Allegro
  21. Symphony No. 13 In F Major, K.112: II. Andante
  22. Symphony No. 13 In F Major, K.112: III. Menuetto & Trio
  23. Symphony No. 13 In F Major, K.112: IV. Allegro molto

Tracks:

  1. Symphony In C Major, K.35: Sinfonia: Allegro
  2. Symphony In D Major, K.38: Intrada: Allegro
  3. Symphony In D Major, K.200-K62a: I. Serenata: Allegro
  4. Symphony In D Major, K.200-K62a: II. Menuetto &Trio
  5. Symphony In D Major, K.200-K62a: III. Andante
  6. Symphony In D Major, K.200-K62a: IV. Menuetto & Trio
  7. Symphony In D Major, K.200-K62a: V. Allegro
  8. Symphony No. 9 In C Major, K.73: I. Allegro
  9. Symphony No. 9 In C Major, K.73: II. Andante
  10. Symphony No. 9 In C Major, K.73: III. Menuetto & Trio
  11. Symphony No. 9 In C Major, K.73: IV. Allegro molto
  12. Symphony In D Minor, K.118-K74c: Overture: Allegro - Andante - Presto
  13. Symphony In F Major, K.75: I. Allegro
  14. Symphony In F Major, K.75: II. Menuetto & Trio
  15. Symphony In F Major, K.75: III. Andantino
  16. Symphony In F Major, K.75: IV. Allegro
  17. Symphony No. 12 In G Major, K.110-K75b: I. Allegro
  18. Symphony No. 12 In G Major, K.110-K75b: II. Andante
  19. Symphony No. 12 In G Major, K.110-K75b: III. Menueto & Trio
  20. Symphony No. 12 In G Major, K.110-K75b: IV. Allegro

Tracks:

  1. Symphony No. 14 In A Major, K.114: I. Allegro moderato
  2. Symphony No. 14 In A Major, K.114: II. Andante
  3. Symphony No. 14 In A Major, K.114: III. Menuetto & Trio
  4. Symphony No. 14 In A Major, K.114: IV. Molto allegro
  5. Symphony No. 14 In A Major, K.114: V. Anhang: Menuett K.61g
  6. Symphony No. 15 In G Major, K.124: I. Allegro
  7. Symphony No. 15 In G Major, K.124: II. Andante
  8. Symphony No. 15 In G Major, K.124: III. Menuetto & Trio
  9. Symphony No. 15 In G Major, K.124: IV. Presto
  10. Symphony No. 16 In C Major, K.128: I. Allegro maestoso
  11. Symphony No. 16 In C Major, K.128: II. Andante grazioso
  12. Symphony No. 16 In C Major, K.128: III. Allegro
  13. Symphony No. 17 In G Major, K.129: I. Allegro
  14. Symphony No. 17 In G Major, K.129: II. Andante
  15. Symphony No. 17 In G Major, K.129: III. Allegro

Tracks:

  1. Symphony No. 18 In F Major, K.130: I. Allegro
  2. Symphony No. 18 In F Major, K.130: II. Andantino grazioso
  3. Symphony No. 18 In F Major, K.130: III. Menuetto & Trio
  4. Symphony No. 18 In F Major, K.130: IV. Molto allegro
  5. Symphony No. 19 In E Flat Major, K.132: I. Allegro
  6. Symphony No. 19 In E Flat Major, K.132: II. Andante
  7. Symphony No. 19 In E Flat Major, K.132: III. Menuetto & Trio
  8. Symphony No. 19 In E Flat Major, K.132: IV. Allegro
  9. Symphony No. 19 In E Flat Major, K.132: Anhang: Andantino grazioso (substitute slow movement)
  10. Symphony In D Major, K.185-K167a: I. Allegro assai
  11. Symphony In D Major, K.185-K167a: II. Andante grazioso
  12. Symphony In D Major, K.185-K.167a: III. Menuetto & Trio
  13. Symphony In D Major, K.185-K167a: IV. Adagio - Allegro assai

Tracks:

  1. Symphony No. 20 In D Major, K 133: I. Allegro
  2. Symphony No. 20 In D Major, K 133: II. Andante
  3. Symphony No. 20 In D Major, K 133: III. Menuetto And Trio
  4. Symphony No. 20 In D Major, K 133: IV. Allegro
  5. Symphony No. 21 In A Major, K 134: I. Allegro
  6. Symphony No. 21 In A Major, K 134: II. Andante
  7. Symphony No. 21 In A Major, K 134: III. Menuetto And Trio
  8. Symphony No. 21 In A Major, K 134: IV. Allegro
  9. Symphony In D Major, K 135: I. Molto allegro
  10. Symphony In D Major, K 135: II. Andante
  11. Symphony In D Major, K 135: III. Molto allegro
  12. Symphony In D Major, K 161 - K 163 - K 141a: I. Allegro moderato
  13. Symphony In D Major, K 161 - K 163 - K 141a: II. Andante
  14. Symphony In D Major, K 161 - K 163 - K141a: III. Presto

Tracks:

  1. Symphony No. 26 In E Flat Major, K 184 , K 161a: Molto presto - Andante - Allegro
  2. Symphony No. 27 In G Major, K 199 , K 161b: I. Allegro
  3. Symphony No. 27 In G Major, K 199 , K 161b: II. Andantino grazioso
  4. Symphony No. 27 In G Major, K 199 , K 161b: III. Presto
  5. Symphony No. 22 In C Major, K 162: I. Allegro assai
  6. Symphony No. 22 In C Major, K 162: II. Andantino grazioso
  7. Presto assai
  8. Symphony In D Major, K 181, K 162b: I. Allegro spiritoso
  9. Symphony In D Major, K 181, K 162b: II. Andantino grazioso
  10. Symphony No. 24 In B Flat Major, K 181, K 162b: III. Presto assai
  11. Symphony No. 24 In B Flat Major, K 182, K 173dA: I. Allegro spiritoso
  12. Symphony No. 24 In B Flat Major, K 182, K 173dA: II. Andantino grazioso
  13. Symphony No. 24 In B Flat Major, K 182, K 173dA: III. Allegro

Tracks:

  1. Symphony No. 25 In G Minor, K 183, K 173dB: I. Allegro con brio
  2. Symphony No. 25 In G Minor, K 183, K 173dB: II. Andante
  3. Symphony No. 25 In G Minor, K 183, K 173dB: III. Menuetto And Trio
  4. Symphony No. 25 In G Minor, K 183, K 173 dB: IV. Allegro
  5. Symphony No. 29 In A Major, K 201, K 186a: I. Allegro moderato
  6. Symphony No. 29 In A Major, K 201, K 186a: II. Andante
  7. Symphony No. 29 In A Major, K 201, K 186a: III. Menuetto And Trio
  8. Symphony No. 29 In A Major, K 201, K 186a: IV. Allegro con spirito

Tracks:

  1. Symphony No. 30 In D Major, K 202 , K 186b: I. Molto allegro
  2. Symphony No. 30 In D Major, K 202, K 186b: II. Andantino con moto
  3. Symphony No. 30 In D Major, K 202, K 186b: III. Menuetto And Trio
  4. Symphony No. 30 In D Major, K 202, K 186b: IV. Presto
  5. Symphony In D Major, K 203, K 189b: I. Andante maetoso - Allegro assai
  6. Symphony In D Major, K 203, K 189b: II. Andante
  7. Symphony In D Major, K 203, K 189b: III. Menuetto And Trio
  8. Symphony In D Major, K 203, K 189b: IV. Prestissimo

Tracks:

  1. Symphony No. 28 In C Major, K 200, K 189k: I. Allegro spriritoso
  2. Symphony No. 28 In C Major, K 200, K 189k: II. Andante
  3. Symphony No. 29 In C Major, K 200, K 189k: III. Menuetto (Allegretto) And Trio
  4. Symphony No. 28 In C Major, K 200, K 189k: IV. Presto
  5. Symphony In D Major, K 121, K 207a: I. Allego molto
  6. Symphony In D Major,K 121, K 207a: II. Andante grazioso
  7. Symphony In D Major, K 121, K 207a: III. Allegro
  8. Symphony In D Majr, K 204,K 213a: I. Allegro assai
  9. Symphony In D Major, K 204, K 213a: II. Andante
  10. Symphony In D Major, K 204, K 213a: III. Menuetto And Trio
  11. Symphony In D Major, K 204, K 213a: IV. Andantino grazioso - Allegro

Tracks:

  1. Symphony In C Major, K 208, K 213c: I. Molto allegro
  2. Symphony In C Major, K 208, K 213c: II. Andantino
  3. Symphony In C Major, K 208, K 213c: III. Presto assai
  4. Symphony In D Jaor, K 250, K 249b (Haffner Serernade): I. Allegro maestoso - Allegro molto
  5. Symphony In D Major, K 250, K 248b (Haffner Serenade): II. Menuetto galante And Trio
  6. Symphony In D Major, K 250, K 248b (Haffner Serenade): III. Andante
  7. Symphony In D Major, K 250, K 248b (Haffner Serenade): IV. Menuetto And 2 Trios
  8. Symphony In D Major, K 250, K 248b (Haffner Serenade): V. Adagio - Allegro assai
  9. Symphony No. 32 In G Major, K 318: I. Allegro spiritoso
  10. Symphony No. 32 In G Major, K 318: II. Andante
  11. Symphony No. 32 In G Majaor, K 318: III. Tempo primo

Tracks:

  1. Symphony No. 33 In B Flat Major, K 319: I. Allegro assai
  2. Symphony No. 33 In B Flat Major, K 319: II. Andante moderato
  3. Symphony No. 33 In B Flat Major, K 319: III. Menuetto And Trio
  4. Symphony No. 33 In B Flat Major, K 319: IV. Allegro assai
  5. Symphony In D Major, K 320 (Posthorn Serenade): I. Adagio maestoso - Allegro con spirito
  6. Symphony In D Major, K 320 (Posthorn Serenade): II. Andantino
  7. Symphony In D Major, K 320 (Posthorn Serenade): III. Presto
  8. Symphony No. 34 In C Major, K 338: I. Allegro vivace
  9. Symphony No. 34 In C Major, K 338: II. Andante di molto piu tosto allegretto
  10. Symphony No. 34 In C Major, K 338: III. Allegro vivace

Tracks:

  1. March In D Major, K 408, No. 2, K 385a
  2. Symphony No. 35 In D Major, 'Haffner' (First Version), K 385: I. Allegro con spirito
  3. Symphony No. 25 In D Major, 'Haffner' (First Version), K 385: II. Andante
  4. Symphony No. 35 In D Major, 'Haffner' (First Version), K 385: III. Menuetto And Trio
  5. Symphony No. 35 In D Major, 'Haffner' (First Version), K 385: IV. Presto
  6. Symphony No. 36 In Major, 'Linz', K 425: I. Adagio - Allegro spiritoso
  7. Symphony No. 36 In C Major, 'Linz', K 425: II. Andante
  8. Symphony No. 36 In C Major, 'Linz', K425: III. Menuetto And Trio
  9. Symphony No. 36 In C Major, 'Linz', K 425: IV. Presto

Tracks:

  1. Symphony No. 31In D Major, 'Paris' (First Version), K 297, K 300a: I. Allegro vivace
  2. Symphony No. 31 In D Major, 'Paris' (First Version), K 297, K 300a: II. Andante
  3. Symphony No. 31 In D Major, 'Paris' (First Version), K 297, K 300a: III. Allegro
  4. Symphony No. 35 In D Major, 'Haffner' (Second Version), K 385: I. Allegro con spirito
  5. Symphony No. 35 In D Major, 'Haffner' (Second Version), K 385: II. (Andante)
  6. Symphony No. 35 In D Major, 'Haffner' (Second Version), K 385: III. Menuetto And Trio
  7. Symphony No. 35 In D Major, 'Haffner' (Second Version), K 385: IV. Finale (Presto)
  8. Symphony No. 38 In D Major, 'Prague', K 504: I. Adagio - Allegro
  9. Symphony No. 38 In D Major, 'Prague', K 504: II. Andante
  10. Symphony No. 38 In D Major, 'Prague', K504: III. Presto

Tracks:

  1. Symphony No. 39 In E Flat Major, K 543: I. Adagio - Allegro
  2. Symphony No. 39 In E Flat Major, K 543: II. Andante con moto
  3. Symphony No. 39 In E Flat Major, K 543: III. Menuetto And Trio (Allegretto)
  4. Symphony No. 39 In E Flat Major, K 543: IV. Finale (Allegro)
  5. Symphony No. 40 In G Minor (First Version), K 550: I. Molto allegro
  6. Symphony No. 40 In G Minor (First Version), K 550: II. Andante
  7. Symphony No. 40 In G Minor (First Version), K 550: III. Menuetto And Trio (Allegretto)
  8. Symphony No. 40 In G Minor (First Version), K 550: IV. Allegro assai

Tracks:

  1. Symphony No. 31 In D Major, 'Paris' (Second Version), K 297, K 300a: I. Allegro assai
  2. Symphony No. 31 In D Major, 'Paris' (Second Version), K 297, K 300a: II. Andante
  3. Symphony No. 31 In D Major, 'Paris' (Second Version), K 297, K 300a: III. Allegro
  4. Symphony No. 41 In C Major, 'Jupiter', K 551: I. Allegro vivace
  5. Symphony No. 41 In C Major, 'Jupiter', K 551: II. Andante cantabile
  6. Symphony No. 41 In C Major, 'Jupiter', K 551: III. Menuetto And Trio (Allegretto)
  7. Symphony No. 41 In C Major, 'Jupiter', K 551: IV. Molto allegro

Tracks:

  1. Symphony In A Minor, 'Odense', K 16a, Anh. 220: I. Allegro moderato
  2. Symphony In A Minor, 'Odense', K 16a, Anh. 220: II. Andantino
  3. Symphony In A Minor, 'Odense', K 16a, Anh. 220: III. Rondo: Allegro moderato
  4. Symphony In G Major, 'Alte Lambach', K 45a, Anh. 221: I. Allegro maestoso
  5. Symphony In G Major, 'Alte Lambach', K 45a, Anh. 221: II. Andante
  6. Symphony In G Major, 'Alte Lambach', K 45a, Anh. 221: III. Molto allegro
  7. Symphony In F Major, K 76, K 42a: I. Allegro maestoso
  8. Symphony In F Major, K 76, K 42a: II. Andante
  9. Symphony In F Major, K 76, K 42a: III. Menuetto And Trio
  10. Symphony In F Major, K 76, K 42a: IV. Allegro
  11. Symphony No. 6 In F Major, K 43: I. Allegro
  12. Symphony No. 6 In F Major, K 43: II. Andante
  13. Symphony No. 6 In F Major, K 43: III. Menuetto And Trio
  14. Symphony No. 6 In F Major, K 43: IV. Allegro

Tracks:

  1. Symphony In G Major, 'Neue Lambach': I. Allegro
  2. Symphony In G Major, 'Neue Lambach': II. Andante un poco allegretto
  3. Symphony In G Major, 'Neue Lambach': III. Menuetto And Trio
  4. Symphony In G Major, 'Neue Lambach': IV. Allegro
  5. Symphony No. 7 In D Major, K 45: I. Allegro
  6. Symphony No. 7 In D Major, K 45: II. Andante
  7. Symphony No. 7 In D Major, K 45: III. Menuetto And Trio
  8. Symphony No. 7 In D Major, K 45: IV. Finale
  9. Symphony In B Flat Major, K 45b, Anh. 214: I. Allegro
  10. Symphony In B Flat Major, K 45b, Anh. 214: II. Andante
  11. Symphony In B Flat Major, K 45b, Anh. 214: III. Menuetto And Trio
  12. Symphony In B Flat Major, K 45b, Anh. 214: IV. Allegro
  13. Symphony In D Major, K 51, K 46a: I. Molto allegro
  14. Symphony In D Major, K 51, K 46a: II. Andante
  15. Symphony In D Major, K 51, K 46a: III. Molto allegro
  16. Symphony No. 8 In D Major, K 48: I. Allegro
  17. Symphony No. 8 In D Major, K 48: II. Andante
  18. Symphony No. 8 In D Major, K 48: III. Menuetto And Trio
  19. Symphony No. 8 In D Major, K 48: IV. Allegro

Tracks:

  1. Symphony In B Flat Major, Anh. C11.03, Anh. 216, K 3 - 74g: I. Allegro
  2. Symphony In B Flat Major, Anh. C11.03, Anh. 216, K 3 - 74g: II. Andante
  3. Symphony In B Flat Major, Anh. C11.03, Anh. 216, K 3 - 74g: III. Menuetto And Trio
  4. Symphony In B Flat Major, Anh. C11.03, Anh. 215, K 3 - 74g: IV. Allegro molto
  5. Symphony No. 37 In G Major, K 444, K 425a, Anh. A53: Mvts II And III By Michael Haydn: I. Adagio maestoso - Allegro con spirito
  6. Symphony No. 37 In G Major, K 444, K 425a, Anh. A53: Mvts II And III By Michael Haydn: II. Andante sostenuto
  7. Symphony No. 37 In G Major, K 444, K 425a, Anh. A53: Mvts II And III By Michael Haydn: III. Finale (Allegro molto)
  8. Symphony No. 40 In G Minor (Second Version), K 550: I. Molto allegro
  9. Symphony No. 40 In G Minor (Second Version), K 550: II. Andante
  10. Symphony No. 40 In G Minor (Second Version), K 550: III. Menuetto And Trio (Allegretto)
  11. Symphony No. 40 In G Minor (Second Version), K 550: IV. Allegro assai

Amazon.com essential recording

This was the set that really got the "authentic instrument" craze going. It was a big, ambitious project that promised a fresh loo