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Digital Sheet Music for Serenade No. 3 in C Major from "Five Viennese Serenades" (Cello Part) - Cello by Wolfgang Amadeus Mozart scored for Tw.
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This means that the expansive K lasts more than 36 minutes. Duncan Druce October Yet clarity remains uppermost. So is an emotional and intellectual dimension, probed through trenchant attack, elastic lines, ductile phrases and a wide dynamic range. Rather a scant regard for superficial niceties. Reach the development of the main Allegro and the tense, driving power of the playing lifts the music to another level of interpretative penetration.

Most arresting of all is the slow movement, for these musicians a sequence of pain and abraded nerve-ends behind a smokescreen of Andante cantabile. Cuarteto Casals shatter a glass ceiling of historic inhibitions and camouflage nothing. Enshrined herein is a rare order of musicianship. Nalen Anthoni Awards issue A delicately breathy sotto voce at the beginning of K presages promise. Their modes of expression play a crucial role too. These musicians bend and straighten, relax and tighten with micro-dynamic changes.

All are intuitively sensed and go beyond literal obedience to the written markings. Yet pulse is steady and nothing is piecemeal or dislocated. Individual character comes first though. The Minuet is very forcefully played.

Constanze, who was having their first baby, thought some passages suggested birth pangs. But the Trio, in the tonic major, is slower, solicitous, with rubatos critically timed. Interpretation is always carefully thought through and heartfelt. Nalen Anthoni November The three childhood works on these discs — essentially keyboard sonatas with discreet violin support — go through the rococo motions pleasantly enough. Still, it would be hard to imagine more persuasive performances than we have here from the ever-rewarding Tiberghien-Ibragimova duo: delicate without feyness, rhythmically buoyant Tiberghien is careful not to let the ubiquitous Alberti figuration slip into auto-ripple and never seeking to gild the lily with an alien sophistication.

It was Mozart, with his genius for operatic-style dialogues, who first gave violin and keyboard equal billing in his accompanied sonatas; and as in their Beethoven sonata cycle Wigmore Hall Live , Tiberghien and Ibragimova form a close, creative partnership, abetted by a perfect recorded balance in most recordings I know the violin tends to dominate. Tiberghien and Ibragimova take the opening Allegro of the E minor Sonata, K, quite broadly, emphasising elegiac resignation over passionate agitation. But their concentrated intensity is compelling both here and in the withdrawn — yet never wilting — minuet.

In the G major Sonata, K, rapidly composed for a Viennese concert mounted by Archbishop Colloredo just before Mozart jumped ship, Tiberghien and Ibragimova are aptly spacious in the rhapsodic introductory Adagio how eloquently Tiberghien makes the keyboard sing here , and balance grace and fire in the tense G minor Allegro.

Richard Wigmore May This disc brings together two musicians absolutely at the top of their game and with long experience of working together, as the easy dialogue between them amply demonstrates. High points abound: the way Tetzlaff withdraws his sound to a whisper in the long, sinewy lines of the Andante of K; the minor-key passage in the same movement, a tragedy no less profound for being fleeting.

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At the other end of the emotional spectrum is the scintillating interaction of the two in the Presto of K That is especially evident in the visionary playing of Mark Steinberg with Mitsuko Uchida a recording that should be in every home, to my mind, disappointing only for the fact that there has been no follow-up , where every yearning key-change is luminously coloured. The reading of the earlier K is just as thoughtful, the opening movement achieving a more ethereal quality than Podger and Cooper, Vogt arguably the more imaginative keyboard player. And the variation-form finale on a simple rococo-ish theme is entrancing, each one piquantly characterised without exaggeration.

A delight from beginning to end. Harriet Smith February There have been several excellent recordings recently of these two works, mostly on period instruments. They demand playing that shows a grasp of their scale, playing that makes plain to the listener the shape, the functional character of the large spans of the music.

By Wolfgang Amadeus Mozart - (COMPLETE) - digital sheet music to print

Paul Lewis and the Leopold String Trio excel in this, with their feeling for its structure and its tension: I am thinking primarily of the first movement of the G minor, and especially of its great climax at the end of the development section, which is delivered with a power and a sense of its logic that are compelling. It is in fact clear from the opening that this is a performance to reckon with, exemplified by its carefully measured tempo, its poise and its subtle handling of the balance between strings and piano. There is a great deal of variety from Lewis in matters of touch and articulation, and much refinement of detail: the shades of meaning in the shifts between major and minor, and in the often chromatic harmony, do not escape him and his colleagues.

The Andante is unhurried, allowing plenty of time for expressive detail; and the darker colours within the finale, for all its G major good cheer, are there too. A real winner, this disc: warmly recommended. Stanley Sadie October How lucky we are that the two greatest pianists of their generation, Murray Perahia and Radu Lupu, are firm friends and that they have collaborated in recording two pieces that are arguably the most successful examples of their respective genres the Schubert is for piano duet; the Mozart for two pianos.

Whether it is in the perfectly crafted busy activity of the Allegro con spirito first movement of the Mozart or the introspective and soulful depth of the Schubert, the players find a unanimity of vision. One is not so much conscious of dialogue-like interplay, but more of them blending to play as one instrument. The fine CBS recording has entirely captured the subtle inflections of detail, especially in the artists' irreproachable balance.

Taken from a live performance at The Maltings, matters of ensemble, which usually defeat the Mozart Sonata, are judged to perfection. After the double bar of the slow movement Lupu and Perahia become lost in each other's thoughts and the effect is overwhelmingly beautiful. James Methuen-Campbell March So if you can only afford one volume of this series, which would it be?

I refuse to say. Hear them all. David Patrick-Stearns February Hoist with my own petard, I think. And, lo and behold, here is one. But permit me to join the chorus of acclaim for his elegance of phrasing, limpid tone quality captured in a demonstration-quality recording , tastefulness of nuance and ornamentation, and imaginative response to harmony and character. Yet nothing is fetishised. Perfection — or something very close to it — is in the service of freedom. But how to apply that insight with discretion and variety, with humanity but without histrionics, is a rare gift.

Blackshaw is one of the few who know how to make the music sing and dance without making a song and dance of it. Never have the 16 minutes of the first movement of the A major Sonata K passed more graciously, for me at least, and the acknowledgement of the Adagio marking for the fifth variation is exquisitely tasteful. At the end of the C major Sonata K , how delectable is the tiny relaxation of pulse to allow the lowest register to speak. How subtly weighted are the fp accents in the slow movement of the F major, and how perfectly adapted to their harmonic environment.

Even the wonderful Uchida sounds occasionally a fraction effortful by comparison. I can only hope for a set of the fantasies, rondos and miscellanea so that I can continue this paean. David Fanning January By common consent, Mitsuko Uchida is among the leading Mozart pianists of today, and her recorded series of the piano sonatas won critical acclaim as it appeared and finally Gramophone Awards in and Here are all the sonatas, plus the Fantasia in C minor, K, which is in some ways a companion piece to the sonata in the same key, K This is unfailingly clean, crisp and elegant playing, that avoids anything like a romanticised view of the early sonatas such as the delightfully fresh G major, K On the other hand, Uchida responds with the necessary passion to the forceful, not to say angst-ridden, A minor Sonata, K Indeed, her complete series is a remarkably fine achievement, comparable with her account of the piano concertos.

The recordings were produced in the Henry Wood Hall in London and offer excellent piano sound; thus an unqualified recommendation is in order for one of the most valuable volumes in Philips's Complete Mozart Edition. Don't be put off by critics who suggest that these sonatas are less interesting than some other Mozart compositions, for they're fine pieces written for an instrument that he himself played and loved. One factor strikes immediately: there is not a whiff of bygone reverential, even obsequious attitudes to Mozart that still cast faint shadows among some pianists.


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But — how about this for a 19th-century throwback? Effects are clear in, for example, the Fantasia, K The fractional hiatus between left and right underpins the harmony in the first and third bars; and a similar hiatus in the D major section 2'25" lends added expression to its contrasting calmness. The staggered articulation is no mere anachronism. Point and purpose explained. It tightens harmonic tension and supports rather than accompanies treble lines. Be it high drama or lyrical contemplation, Pienaar scans phrases with a fluidity that releases the music from rhythmic inertia.

Serenade No. 6 in D major, K. 239 "Serenata notturna"

Ignore the odd insignificant pianistic smudge, because keyboard prowess is formidable. A much-mistreated piece emerges in a different light. Extend such thoughtful, profound probity to the whole set and you have interpretations where within the letter critically observed, a numinous potency breaks free. Momentous Mozart. Absolutely no margin for error or insufficiency, nor indeed for anything at all approximate or generalised.

The smallest units have been thought about, judged in relation to before-and-after and the long term, and then released into the air, beyond the confines of the instrument. And in the presto finale, where Brendel is choppy and rather slow, Goode is exciting as well as articulate and wonderfully adept at getting from one thing to another.


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He gives you the overview, too, often powerfully. While admiring the flux of intensities, dynamics, shapes and colours he sets before you in the Rondo, I wondered three-quarters of the way through whether the totality was going to achieve enough weight. The shorter pieces, enterprisingly chosen, set off the great works admirably.

Exceptional sound throughout — like the playing, quite out of the ordinary run.

Serenade for violin, viola & cello in D major, Op. 8

Stephen Plaistow June Period-instrument C minor Masses get better and better. Here that problem is largely avoided in a similarly grand acoustic: that, and the fact that the C minor Mass is a far more vocally orientated piece than the Requiem. The edition used of this tantalisingly incomplete work is that by Franz Beyer, published in Beyer also contrived an Agnus Dei from the music of the Kyrie but that is not recorded here.

As a package, the disc as a whole is certainly a winner; the Mass easily ranks alongside the period-instrument benchmarks. David Threasher December Purely on grounds of performance alone, this is one of the finest Mozart Requiems of recent years.