BUSONI : Piano Music • 10 — Transcriptions of Works by J.S. Bach, Brahms, Cramer, Liszt and Mozart (Wolf Harden) (2018) FLAC (tracks), lossless

Busoni embodied an essentially recreative approach to the music of the past. His Bach transcriptions reveal an absolute command of intricate polyphony and a limpid clarity. Mozart stood as an aesthetic and technical exemplar while Cramer’s little-known Etudes are adapted for modern piano technique. Busoni preserved the Lutheran austerity of Brahms’s Chorale Preludes for Organ, Op. 122 whereas in the Mephisto Waltz No. 1 he augments Liszt’s heady writing with a super-virtuosity of his own. naxos

Ferruccio Busoni (1866-1924)
1-3.     Fantasia, Adagio e Fuga (after J.S. Bach's BWV 906 and 968)
 Mozart - Piano Concerto No. 9 in E-Flat Major, K. 271, "Jeunehomme": II. Andantino
4.    Mozart - Piano Concerto No. 9 in E-Flat Major, K. 271, "Jeunehomme": II. Andantino
5-12.    Klavierübung in 5 Teilen (first edition, 1917-22), Part IV: 8 Etudes after Cramer
Johannes Brahms /  Ferruccio Busoni - Arranger
13-18.     11 Chorale Preludes, Op. 122 (arr. F. Busoni for piano) (excerpts)
Franz Liszt, / Ferruccio Busoni - Arranger
Der Tanz in der Dorfschenke, S110/R427, "Mephisto Waltz No. 1" (arr. F. Busoni for piano)

Wolf Harden - Piano 

MILIZA KORJUS - The Art of Coloratura (2004) FLAC (tracks), lossless

 

ELISABETH SCHUMANN - Icon : Silver Thread of Song (2011) 6xCD BOX-SET / MONO / APE (image+.cue), lossless

The German soprano Elisabeth Schumann was one of the finest lyric sopranos of the 20th Century. She made her professional debut in Hamburg in 1909 and died in 1952, having given her last public concert the previous year. In 1985 the eminent vocal expert Alan Blyth wrote of her: ‘No artist so endeared herself to her public as Elisabeth Schumann. The charm of her manner is legendary; so is the attraction of her slivery voice and outgiving style. Whether in her operatic portrayals, her Lieder or her operetta offerings, she captivated her audiences.’

CDs 1 and 2 contain an unrivalled collection of Schumann's famous recordings of songs by Franz Schubert, the centrepiece of which is Der Hirt auf dem Felsen (‘The Shepherd on the Rock’) with Reginald Kell as the distinguished clarinet soloist. Every one of these songs is illuminated by the singer's unique style of vocal clarity and brightness as well as rhythmic bouyancy and spontaniety.

CD 3 brings together a number of Elisabeth Schumann's recordings of songs by her namesake Robert Schumann, including the famous cycle for female voice: Frauenliebe und-leben. Also on this CD are a group of songs by Brahms including several from the delightful ‘49 Deutsche Volkslieder’

CD 4 begins with Schumann's elegant performances of several soprano pieces by Bach and Handel, which are followed by a variety of contrasting works by Mozart including the main arias for Susanna and Cherubino in Le nozze di Figaro and both of Zerlina's solos from Don Giovanni. The Mozart programme continues with an engaging performance of the ‘Alleluja’ from Exsultate, jubilate, a small group of songs and then finally the Benedictus from Mozart’s final work, the moving Requiem in D minor.

CD 5 is a mixed Lieder recital starting with songs by Haydn and Beethoven, then a collection of Hugo Wolf and ending with a group of Richard Strauss compositions, all touched by Schumann's own personal vocal magic.
The final CD opens with three extracts from Der Rosenkavalier that amply demonstrate Elisabeth Schumann's radiant interpretation of Sophie that was acclaimed in theatres around the world. Then we hear Schumann gloriously floating the soprano line in the Quintet from Die Meistersinger, followed by a collection of charming English songs, all sung with impeccable pronunciation. The disc ends with some of the most entertaining performances of arias from Viennese operettas ever put on record that will guarantee to bring a smile of delight to even the most critical listener.

 

MOZART : Sonatas for Piano & Violin (Uchida-Steinberg) (2005) FLAC (tracks+.cue), lossless

In perusing CDs of Mozart's sonatas for piano and violin, a lot can be guessed in advance by noticing which performer is featured prominently, and who is relegated to second place. In these sonatas the violin is minimized to an obbligato accompaniment. Legendary pianist Mitsuko Uchida is clearly the dominant partner, and rising violinist Mark Steinberg is only her deferential sidekick. The usual problems of balance between the piano and violin are exacerbated by such a lopsided pairing, and it is inevitable that Uchida's interesting interpretations, refined expression, and impeccable execution will outshine Steinberg's efforts; no matter how desperately he tries to get on an equal footing with her, he must fail. As it happens, his playing eventually becomes an annoyance, little more than a doubling or elaboration of the melodic line, with little independence of thought, expression, attack, or color. Strangely, one wishes to hear Uchida's playing unadorned, without the chattering fiddling going on beside her, but this is just further evidence that this duo is mismatched. The sound quality is decent, except that the highly resonant acoustics emphasize the piano to the violin's further detriment. by Blair Sanderson

RICHARD GALLIANO - Mozart (2016) Mp3

ANDREAS OTTENSAMER - New Era (2017) FLAC (image+.cue), lossless

The music of the so-called Mannheim School, written for the large and virtuosic court orchestra in the German city of Mannheim in the second half of the 18th century, has been out of fashion. From a modern perspective it doesn't seem to have contained the groundbreaking discoveries that were happening in Vienna. Yet in its own time the Mannheim orchestra (memorialized by the high-tech instrumental pop group Mannheim Steamroller) was, in the words of clarinetist Andreas Ottensamer, "a rock-star ensemble," famed for its brilliant individual players. The orchestra introduced various instrumental innovations, including the first prominent use of the clarinet, to which are owed Mozart's towering works for the instrument. Ottensamer, principal clarinetist for the Berlin Philharmonic, offers a varied selection of music from Mannheim, including one concerto each from the father-and-son pair of Johann and Carl Stamitz. He also finds some rarer music, most notably a Concerto for clarinet, bassoon, and orchestra by Franz Danzi. For no very good reason other than that Ottensamer apparently wanted to perform with his friend Albrecht Mayer, the bassoon part of this work is transcribed for cor anglais, but it's certainly possible to imagine the transcription being done in the work's own time. It is a small masterpiece of intricate ensemble writing that may bring to mind Haydn's Sinfonia Concertante in B flat major, Hob. 1/105. Sample its ebullient finale, so much more varied than the rather stumpy Carl Stamitz finale. The opera-based pieces on the album by Danzi and Mozart are elegantly done and allow Ottensamer plenty of opportunity for pure technical display. A satisfying release, very nicely recorded at Berlin's Teldex studio. by James Manheim   
Tracklist:
Concerto for Clarinet and Orchestra in B flat major
1 I. Allegro moderato 7:13
Johann Stamitz
2 II. Adagio 5:16
Johann Stamitz
3 III. Poco presto 4:19
Johann Stamitz
Concertino for Clarinet, Bassoon and Orchestra in B flat major, Op. 47
4 I. Allegro 6:43
Franz Danzi
5 II. Andante moderato 3:19
Franz Danzi
6 III. Allegretto 6:02
Franz Danzi
Mitridate, re di Ponto 4:38
7 Se viver non degg'io
Wolfgang Amadeus Mozart
8 Fantasy for clarinet and orchestra on "Là ci darem la mano" 10:08
Franz Danzi
Don Giovanni
9 Batti, batti, o bel Masetto 3:59
Wolfgang Amadeus Mozart
Concerto for Clarinet and Orchestra No. 7 in E flat major (Darmstädter No. 1)
10 I. Allegro molto 8:19
Carl Stamitz
11 II. Adagio 6:18
Carl Stamitz
12 III. Rondeau 5:37
Carl Stamitz

WOLFGANG AMADEUS MOZART : The Piano Sonatas (Mitsuko Uchida) 5CD (2001) FLAC (image+.cue), lossless

Philips has reissued, at an affordable price, Mitsuko Uchida's recordings of all the Mozart piano sonatas. It's a great package for anyone who hasn't heard her celebrated performances of these or may have only heard one or two. She uses a lightness of touch and approach as if she were playing on an instrument more like what Mozart would have had, rather than its modern, sturdy descendent. There is also a deliberateness and care given to each phrase, adding a delicate nuance here, a smidgen more drama there. Even in the most dramatic of the sonatas, the Sonata in C minor, K. 457, and its preceding Fantasy, K. 475, the mood hints at the drama of Beethoven, but is not played with anything near the intensity of Beethoven and always carries the good humor of Mozart. In the Sonata in D major, K. 284, the listener can easily hear Mozart the symphonist or opera composer just by the way Uchida voices and balances the music under her hands. It's an extremely satisfying set of performances.  by Patsy Morita