Word: mozarts
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Dates: during 1960-1969
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...name from the old London church where it made its debut a decade ago. With Concertmaster Neville Marriner directing in 18th century style from the first desk, the 16-man ensemble achieves a dramatic precision that would do credit to Toscanini. The three Divertimenti for strings, written when Mozart was 16, are stunning miniatures in Italian rococo symphonic style. The Serenata Notturna, scored for two small orchestras plus timpani, also sparkles with classical elegance...
QUARTET FOR FLUTE AND STRINGS, K. 285; QUARTET FOR OBOE AND STRINGS, K. 370; QUINTET FOR HORN AND STRINGS, K. 407 (Telefunken). This new recording of some seldom heard but thoroughly charming Mozart is ably presented by the Strauss Quartet, a group of young German instrumentalists, and three agile collaborators. Particularly outstanding is Hermann Baumann's dazzling horn playing in the quintet; he seems to be daunted neither by enormous leaps nor precipitous scales and ornaments...
REQUIEM, K. 626 (Telefunken). Mozart's liturgical music is tricky to interpret. But Karl Richter, an organist and harpsichordist as well as conductor, creates a performance that combines operatic grandeur in the Dies Irae with the religious awe attending death that is heralded by the sepulchral drumbeats at the close of the Agnus Dei. The four first-class soloists (Maria Stader, soprano; Hertha Töpper, alto; John van Kesteren, tenor; Karl-Christian Kohn, bass) enter into the spirit of their conductor's classical conception: they never struggle to achieve Wagnerian eminence of tone but modestly blend into...
...wings to perform, it is not with the elegant stride of a Milstein or the open-armed warmth of a Stern. It is with a rapid, open-toed, Chaplinesque shuffle. When Zukofsky plays, his music often consists of a series of brash scrapes, sharp squeaks and galloping glissandos that Mozart, Brahms and Tchaikovsky never dreamed of. Sometimes, it seems that he is a man who cares little for the usual trappings of success...
...disputes to a vote. Deciding interpretive questions at rehearsals, they avoided 2-to-2 deadlocks by assigning one player two votes for the music at hand. Roisman could sometimes swing a vote his way, even when in the minority. He would say quietly: "Doesn't Mozart get a vote...