There is no other composer that I keep coming back so often as Mozart. No contemporary artist that comes even close..Mozart's music is a unique blend of simple beauty and sophistication.
I agree. There's Mozart. Then there's everybody else. Every now and then I treat myself to devoting an entire day to listening to the healing beauty of Mozart's sublime music. Today is such a day. I started with Symphony No.25 in G minor (K. 183) and listened to every subsequent symphony to this point. I've got K.550 and K.551 next in the queue, then I'm going to go through the piano concertos from K.466 onwards until I reach the Clarinet Concerto. There a few Overtures queued up as well. This might not be the most productive day of my life but it will be among the most satisfyingly restorative.
Whenever I listen to orchestral works I tend to come to your channel since you use recordings with balanced orchestra. I like them because the brass is much louder than other recordings but they aren't that louder compared to the other sections. Keep up the good work my friend.
I agree, i wanted to listen to recordings with orchestra on screen, but then i realised that this one is my favourite because of the brass, as you said.
Very clean recording, but I find it awkward that the strings truncate so many of their longer notes, especially during suspensions and dissonances. It really detracts from the lyricism and intensity.
Where for example? For what I have studied, in the epoch of Mozart the style asked to not sustain the note too much, but to do a sort of diminuendo from the start of the note. The idea of sustaining the long note and holding them was more of a romantic thing, but of course cutting the note earlier is not good either
I add that at 2:48, if you look at the manuscript, the winds have written "tenuto" but the next bar the violins don't have written tenuto, it's a mistake of the editor. I think he saw a parallelism between the winds+viola and cellos and the violins so he added a tenuto to the violin the next bar, but the strings are actually melodic there while the winds are creating a color effect to the repeated 8th notes of the strings. So I see an implied crescendo/diminuendo in these two bars. In the chapter on articulation of music as speech Harnoncourt warns about how composers often write different articulation even in the same passages for different instruments because they want a very rich texture but editors tend to see it as a mistake and change it.
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There is no other composer that I keep coming back so often as Mozart. No contemporary artist that comes even close..Mozart's music is a unique blend of simple beauty and sophistication.
I agree.
There's Mozart. Then there's everybody else.
Every now and then I treat myself to devoting an entire day to listening to the healing beauty of Mozart's sublime music. Today is such a day. I started with Symphony No.25 in G minor (K. 183) and listened to every subsequent symphony to this point. I've got K.550 and K.551 next in the queue, then I'm going to go through the piano concertos from K.466 onwards until I reach the Clarinet Concerto. There a few Overtures queued up as well.
This might not be the most productive day of my life but it will be among the most satisfyingly restorative.
@ enjoy!
Wow, a whole symphony was written to go along with these violin excerpts!
One of Mozart's gems! Good to listen to.
Those violin parts in mvt 4 are crazy!
Beautiful version!! Thanks so much!!
Amazing Mozart!
Yes !! my favorite symphony of Mozart, the great Mozart !!!
WOW! Thank you!
Whenever I listen to orchestral works I tend to come to your channel since you use recordings with balanced orchestra. I like them because the brass is much louder than other recordings but they aren't that louder compared to the other sections. Keep up the good work my friend.
I agree, i wanted to listen to recordings with orchestra on screen, but then i realised that this one is my favourite because of the brass, as you said.
My favourite!
for personal reference
21:24
21:58
24:19
For pesonal reference 2:07 3:14
2:08 excerpt
21:23
Very clean recording, but I find it awkward that the strings truncate so many of their longer notes, especially during suspensions and dissonances. It really detracts from the lyricism and intensity.
Where for example? For what I have studied, in the epoch of Mozart the style asked to not sustain the note too much, but to do a sort of diminuendo from the start of the note. The idea of sustaining the long note and holding them was more of a romantic thing, but of course cutting the note earlier is not good either
I add that at 2:48, if you look at the manuscript, the winds have written "tenuto" but the next bar the violins don't have written tenuto, it's a mistake of the editor. I think he saw a parallelism between the winds+viola and cellos and the violins so he added a tenuto to the violin the next bar, but the strings are actually melodic there while the winds are creating a color effect to the repeated 8th notes of the strings. So I see an implied crescendo/diminuendo in these two bars. In the chapter on articulation of music as speech Harnoncourt warns about how composers often write different articulation even in the same passages for different instruments because they want a very rich texture but editors tend to see it as a mistake and change it.
Work of a genius indeed
I wish I could like this more than once.
10:38 personal reference
senza oboe
Timbalista overdoes it, or the recording does.
2:16