Mozart: Symphonies Nos. 40 & 31

On this CD:

1. Symphony No. 40 in G minor, K. 550
Composed by Wolfgang Amadeus Mozart
Performed by Academy of Ancient Music (UK), Christopher Hogwood
Conducted by Jaap Schroder

2. Symphony No. 31 in D major ("Paris"), K. 297 (K. 300a)
Composed by Wolfgang Amadeus Mozart
Performed by Academy of Ancient Music (UK), Christopher Hogwood
Conducted by Jaap Schroder

Tracks:

Canon In D
'Brandenburg' Concerto No. 3: Allegro
The Four Seasons - The Winter: Largo And Allegro
Fanfare ('Masterpiece Theatre' Theme)
Camerata Romana: Air For The 'G' String
'Eine kleine Nachtmusik': Allegro
Piano Concerto No. 21 ('Elvira Madigan' Theme): Andante
Introduction To Symphony No. 5
'William Tell' Overture: Finale
'Aida': Triumphal March
On The Beautiful, Blue Danube Waltz
'The Nutcracker': Waltz Of The Flowers
'1812' Overture: Finale

Tracks:

Sabre Dance
'Light Cavalry' Overture: Finale
Carmen: The Toreadors
' Midsummer Night's Dream': Wedding March
Radetzky March
Symphony No. 9, 'Choral': Finale
'Prince Igor': Polovstian Dance No. 17
Jesu, Joy Of Man's Desiring
Peer Gynt: Solveig's Song
Sleepers, Wake
Water Music: Hornpipe
Symphony No. 9, 'From The New World': Largo
Emperor Waltz
'Emperor' Quartet: St. Anthony's Chorale
'The Tales Of Hoffman': Barcarolle
L'Arlesienne: Farandole
'The Nutcracker': Dance Of The Mirlitons
'The Nutcracker': Dance Of The Sugar-Plum Fairy
'Rhapsody In Blue': Highlight
'Orpheus In The Underworld': Can-Can

Tracks:

Introduction To 'Also sprach Zarathustra'
Symphony No. 4, 'Italian': Saltarello: Presto
Piano Concerto No. 20: Romance
'The Valkyrie': Ride Of The Valkyries
'The Four Seasons' - The Spring: Allegro
Toccata and Fugue
Trumpet Voluntary
'Royal Fireworks Music': la rejouissance: Allegro
'Moonlight' Sonata: Adagio Sostenuto
London Festival Orchestra: Overture To 'The Barber Of Seville'
Piano Concerto No. 2: Adagio Sostenuto

Tracks:

Carmina Burana: Introduction To 'Carmina Burana'
Peer Gynt: Dawn From 'Peer Gynt'
Lohengrin: Prelude To 'Lohengrin'
'Lieutenant Kije': Troika From 'Lieutenant Kije'
Adiago For Strings
'Carmen': Habanera From 'Carmen'
'Double' Concerto: Allegro From 'Double' Concerto
The Marriage Of Figaro: Overture To 'The Marriage Of Figaro'
(Rondo) Alla Turca
Xerxes: Largo From 'Xerxes'
Symphony No. 5: Allegro vivace From Symphony No. 5
'Swan Lake': Scene: Enchanted Lake From 'Swan Lake'
Clair De Lune
Bolero

Customer Reviews:

CD set is misnamed.......2007-06-08

They should have titled this "classical music for people who love classical music" because most of the selections are typical classical music. The title suggests it would be lively selections of "light classical" music that is more upbeat, i.e. Sabre Dance, etc. I really don't hate classical music at all and have many classical CDs in my collection but I really wanted to hear more exciting selections. I won't be purchasing any more of this set but if you like traditional classical music these are good one.

Do not Buy.......2007-02-21

I do know it says classical music for people who hate it, but serioulsly you would have better luck never listening to classical music again. The recordings are awfull and do not do justice to any of the composers. Buy something else.

Classical Music for People Who Hate Classical Music.......2007-01-30

We love this set of CD's. I just got a new copy because my kids keeping taking our first copy with them so that they can listen at work or in their bedrooms but then I can never find them.

Seek better versions.......2006-12-09

If you are fairly new to classical purchases then compilation CD's can be useful for deciding what to buy next. Sometimes you only need a small taste of a piece to inspire you to buy a release with the whole performance on. The problem with this compilation however is that most of the versions are poor in performance or recording quality (or both) when compared to the best versions and the fact that the conductors aren't even credited on the track listing made me suspect that this would be the case. One of my favorite classical pieces is Tchaikovsky's 1812 festival overture but if the first CD version I had heard had been the finale excerpt that is on this compilation I may not have gone on to buy the whole thing. Luckily I heard Adrian Leaper's version first and Adrian's version is rather good.
My classical CD buying experience is limited to only a couple of dozen discs but I have found that the Naxos and Deutshe Grammophon releases are fairly safe. Avoid any release which does not name the conductors on the track listing or sleeve notes.

It Is What It Is.......2006-10-27

It's fitting that this page is fraught with the same kind of silly snobbery that turns people off from classical music (and necessitates collections like this) in the first place.

Any criticism of this compilation, which focuses on the quality of the performances or the fact that many tracks are excerpts, misses the point. This is not a collection for people who consider such things, nor does it purport to be. The idea is to package as many ultra-famous classical melodies as possible in one affordable collection and market it to people who have never purchased a classical recording. As such, top-tier performances are likely too expensive to be sold so cheaply and are unnecessary anyway. Those of us who already know and love a piece or two can forgive the compilers the inclusion of sub-par recordings, when we are exposed to so many other beautiful pieces for the first time.

It probably comes as a shock for some to hear that most people are not familiar with these classics. We may hear snippets on TV or movies, but are left with no idea as to the composer or historical context. With that in mind, it is extremely intimidating to begin buying classical. I suppose those among us, who so thoroughly dismissed the very notion of a boxed set like this, would have us begin by buying full albums by reputable interpreters. Surprisingly enough though, the majority of people would consider that a tad cost-prohibitive.

To conclude, this is a STARTER collection. It will either affirm a listener's feelings about classical music or lead to an interest in purchasing better recordings. Ideally, I suppose the interpretations would be better, but, for reasons mentioned above, that just isn't in the cards for a collection of this nature. If you're familiar with 50 different recordings of "The Ring" series, or have season tickets to the New York Philharmonic, then this probably isn't for you. For us cretins with limited foreknowledge of classical music though, it serves as a succinct introduction with little to complain about.

Average customer rating:

Excellent readings of the last six symphonies...
Radiant performances!
Wonderful Sound Quality and Precision
Other than Bruno Walter's
Efficient interpretations and lovely playing, but there's more to Mozart

Mozart: Symphonies Nos. 35-41

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Beethoven: 9 Symphonies
Mozart: The Great Piano Concertos, Vol. 1
Beethoven: Symphonien Nos. 5 & 7 / Kleiber, Vienna Philharmonic Orchestra
Mozart: The Great Piano Concertos, Vol. 2
Tchaikovsky: Symphonies no 4, 5, & 6 / Karajan, Berlin PO

ASIN: B000001GQB
Release Date: 1996-01-23

Tracks:

Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Allegro Con Spirito
Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': (Andante)
Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Menuetto - Trio
Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Finale. Presto
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Adagio - Allegro Spiritoso
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Andante
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Menuetto - Trio
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Presto
Symphonie No. 38 - Dur KV 504 'Prager Symphonie': Adagio - Allegro
Symphonie No. 38 - Dur KV 504 'Prager Symphonie': Andante
Symphonie No. 38 - Dur KV 504 'Prager Symphonie': (Finale.) Presto

Tracks:

Symphonie No. 39 Es-dur KV 543: Adagio - Allegro
Symphonie No. 39 Es-dur KV 543: Andante Con Moto
Symphonie No. 39 Es-dur KV 543: Menuetto. Allegretto - Trio
Symphonie No. 39 Es-dur KV 543: Finale. Allegro
Symphonie No. 40 g-moll KV 550: Molto Allegro
Symphonie No. 40 g-moll KV 550: Andante
Symphonie No. 40 g-moll KV 550: Menuetto. Allegretto - Trio
Symphonie No. 40 g-moll KV 550: Allegro Assai
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Allegro Vivace
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Andante Cantabile
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Menuetto. Allegretto - Trio
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:

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.

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.

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.

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

Efficient interpretations and lovely playing, but there's more to Mozart.......2005-09-25

I can see someone admiring these recordings, since they are very well executed and crisply presented, with no major flaws. And I can see why Mozart was considered one of Karl Bohm's best composers if you like his foursquare, unsmiling approach. Apparently many other listeners and reviewers don't demand more than what this bargain set of the last six symphonies delivers.

But Bohm's traditional Teutonic conducting sounds pretty limited to me, not because of the "authentic" movement now in vogue but because great Mozart conducting must be joyous, light on its feet, and full of wit and alertness. Bohm is brisk and efficient instead. Bruno Walter was born even earlier than Bohm, and yet he got all those things right. That's why I return to him again and again, not to this set, much as I love the Berlin Phil.

Average customer rating:

Szell's Mozart Is A Tour-De-Force!
Best recording of #40 and #41 I've ever heard
The good old days
geniales!!
More Mozart! more Mozart!!!

Mozart: Symphonies Nos. 35, 40, 41

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Symphonies Nos. 1 & 6

ASIN: B00005YNH6
Release Date: 2002-01-29

Tracks:

Symphony No. 35 In D Major, K. 385 'Haffner': I. Allegro Con Spirito
Symphony No. 35 In D Major, K. 385 'Haffner': II. Andante
Symphony No. 35 In D Major, K. 385 'Haffner': III. Menuetto; Trio
Symphony No. 35 In D Major, K. 385 'Haffner': IV. Finale: Presto
Symphony No. 40 In G Minor, K. 550: I. Motto Allegro
Symphony No. 40 In G Minor, K. 550: II. Andante
Symphony No. 40 In G Minor, K. 550: III. Menuetto: Allgretto; Trio
Symphony No. 40 In G Minor, K. 550: IV. Allegro Assai
Symphony No. 41 In C Major, K. 551 'Jupiter': I. Allegro Vivace
Symphony No. 41 In C Major, K. 551 'Jupiter': II. Andante
Symphony No. 41 In C Major, K. 551 'Jupiter': III. Menuetto: Allegretto; Trio
Symphony No. 41 In C Major, K. 551 'Jupiter': IV. Molto Allegro

Customer Reviews:

Szell's Mozart Is A Tour-De-Force!.......2006-11-07

I've been listening to the late Mozart symphonies for years and these Szell recordings continually stand out as some of the finest. Szell beats Marriner, Bernstein, Gardiner and even Karajan most of the time. Szell's Haffner is radiant, one of the finest ever played. His account of the 40th symphony, the famous G Minor is still unsurpassed, the richness and dark emotions of the opening movement are brought out as never before or since. Szell gives off no sentimentality whatsoever and this music sings and flies under his baton. Bernstein and Karajan are easily superseded in the Haffner and G Minor symphonies. The final symphony, number 41, the magnificient Jupiter, one of Mozart's greatest creations and one of the most perfect symphonies ever composed gets a stunning performance. Here the competition is stiffer and you should definitely hear Karajan in the Jupiter, check out his DG 2CD set of the late Mozart symphonies. Other than Karajan, Szell reigns supreme on modern instruments, utilizing the full orchestra.

Szell skips many of the repeats which have become customary these days, the repeats sure can get annoying, it's nice to hear Szell letting the music speak for itself instead of being merely academic. Szell takes the repeat in the opening movement of the Haffner symphony, this is something that recent day conductors don't do since Mozart did not put a repeat sign for this movement. The 40th symphony also gets the all important exposition repeat in it's opening movement, the finale moves along sans repeats. The Jupiter is repeat free in the opening movement and the finale. The finale especially can get very tedious if both halves of it's structure are repeated like in the Bernstein recording.

Basically if you love Mozart played by modern instruments on a full-sized orchestra, I can't recommend Szell's CD enough, it's a classic in every sense, fast, elegant, dramatic and full of charm. You must buy it if you love Mozart.

Best recording of #40 and #41 I've ever heard.......2006-06-10

Straight up, this is the best recording of Mozart's #40 and #41 that I have ever heard. There is so much energy and intensity and it is so refined and beautiful. I particularly like the way they do the last movement of #41--it's amazing. And it's like...#35 on the CD too...bonus!

Szell in general is always good, and...well...this is one of my favorite among all his performances. This is definitely my favorite mozart CD and it is among the most cherished of any CD's in my collection.

The good old days.......2005-01-04

I've heard people say Szell's recordings are lame and uninteresting. I don't see how anyone could believe that, but if you need someone to say it ain't so, here I am. Although these interpretations of these symphonies don't blast out of your speakers the way von Karajan or Bernstein Mozart would, that doesn't mean they're not full-blooded, irresistible recordings nonetheless. What Szell and Cleveland bring to the foray that many of their counterparts lack is their trademark pinpoint precision. You truly can "hear every note"--and in music as transparently structured as Mozart's, where every note is necessary and important, that precision makes the difference between a nice recording and a compelling one. However, there's a surprising amount of passion in these interpretations as well. Given that Szell himself defended his allegedly unemotional Mozart recordings with the sardonic comment "I cannot pour chocolate sauce on asparagus," I find these recordings to be some of the most ardent I've heard; in fact, for as much of a Dohnanyi fan as I am, I daresay this recording of the 40th trumps even that maestro's recording with this same orchestra. The "Haffner" symphony in particular is a real potboiler on this album; I don't think I've ever heard it performed with more gusto--but check out the stentorian minuet of the 40th, or the exhilarating trumpet work throughout the 41st. The bottom line is, you get three of Mozart's finest symphonies packed into one CD at a budget price, which is a bargain on its own--but when the quality of the interpretation is as good as it is here, that bargain becomes an unbelievable value. Even if you already own other recordings of all of these symphonies, this CD should be a necessary addition to your collection. It sure was for me.

geniales!!.......2004-11-09

Mozart escribio estas ùltimas sinfonias y se consagraron sobre las demas, en este CD descubrira porque, el sonido magnifico y la interpretación no tienen parangón.
Szell a cargo de la sinfónica de Cleveland hace que estas sinfonias suenen soberbias, estan energizadas de un vigor y elegancia geniales, son obras de arte musicales en su máxima expresión, no hay que hacer ningun comentario respecto de la 40, es muy conocida y podran disfrutar de una version espectacular, la Nº 41 Jupiter es otra maravilla segunda en el ranking de popularidad Szell hace de ella alcanzar aires de grandeza inigualables, la 35 otra maravilla, la orquesta a plenitud, es genialidad y belleza pura, disfruten de lo mejor de Mozart con los mejores interpretes.

More Mozart! more Mozart!!!.......2003-11-14

I recently purchased this recording and Maestro Szell's recording of the Haydn Symphs. 92, 94, and 96.

I have owned many of the Maestro's recordings from all periods, but his Mozart and Haydn are non-pariel! Why there was never a complete set of Mozart or Haydn symphonies creates a mystery in my mind that will never be solved. Is it the simple cost over what is left for humanity that important? Neville Mariner could come close sometimes but not all of the time, and I mean not really that close.

I am still amazed that there are over two thousand titles for the Berlin and Vienna Philharmonic Orchestras alone, while we have, at least, the top five orchestras in the world still and a paultry discography remains or is being produced. What is wrong with this picture?

One of the former reviewers said something about this disc being a for-runner of 'authentic' period recordings. This may be so, but I haven't heard one yet that even comes close and all of that tinny scratchy noise from these 'experts' sure drives me away. Performance was meant to grow and not be caught up in stasis. Why can't there be 'authenticity' with beautiful string sound and virtuoso brass and winds?

I even love to hear the Maestro hum along or hear him grunt when he starts a hefty section of music. You can imagine how much of this is going on when he and Rudolph Serkin get together. I love it. Total passionate involvement.

The 'Haffner' is absolutely sublime. The first movement of the Fortieth is beyond description and don't I hear the first inkling of cyclical form here in the remaining movements? And the 'Jupiter'--no words can supply what is conveyed. Maybe if Mahler had been alive in Mozart's time this is what he might have composed. That is the closest I can get,

I remember when these recordings came out on 33's. The musical world was absolutely stunned. There had never been Mozart recordings played in such sumptuous, yet crisp and virtuosic manner as this. They still remain the standard, and being recorded in Severance Hall, the sound is still crisp and sumptuous at the same time.

Tracks:

I. Allegro Con Brio
II. Andante
III. Menuetto-Trio
IV. Allegro
I. Allegro Moderato
II. Andante
III. Menuetto-Trio
IV. Allegro Con Spirito
I. Adagio-Allegro
II. Andante
III. Presto

Tracks:

I. Allegro Con Spirito
II. Andante
III. Menuetto-Trio
IV. Presto
I. Molto Allegro
II. Andante
III. Menuetto-Trio
IV. Presto
I. Molto Allegro
II. Andante
III. Menuetto: Allegretto-Trio
IV. Allegro Assai

Tracks:

I. Adagio-Allegro
II. Andante Cantabile
III. Menuetto: Allegretto-Trio
IV. Finale: Allegro
I. Allegro Vivace
II. Andnate Cantabile
III. Menuetto: Allegretto-Trio
IV. Molto Allegro

Customer Reviews:

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?!?!

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.

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.

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.

The best bargain on the market.......2004-03-24

The new Trio series has to be one of the most welcome and affordable additions to the classical music market. This set shows why. For a budget price one can get pretty much all of Mozart's best loved symphonies, in some of the most highly regarded performances made of them. Bernstein's lush, relaxed, and very romantic interpretations may not be for all tastes, especially those who have become used to period style. But for those who feel Mozart would have preferred his music performed with the warmth and beauty that is missing from the rather cold, analytical period interpretations that have become the norm, these are for you. I cannot recommend this set more highly.

Average customer rating:

Incredible!
Cheesy cover doesn't mean it
Utterly Airbourne Mozart
Mackerras Makes Magic!

Mozart: Symphonies Nos. 40 & 41

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Mozart: Serenade for 13 Winds "Gran Partita"

ASIN: B000003CU6
Release Date: 2003-04-22

Tracks:

I. Molto Allegro
II. Andante
III. Menuetto: Trio
IV. (Finale) Allegro Assai
I. Allegro Vivace
II. Andante Cantibile
III. Menuetto: Trio
IV. (Finale) Molto Allegro

Amazon.com

Sir Charles Mackerras crowns a superb Mozart symphony cycle with these two marvelous performances, which marry 18th-century performance techniques to the warm tone of modern instruments. He also adds a discrete harpsichord accompaniment to the orchestra, such as might have existed in Mozart's time. With all the repeats taken and tempos swifter than the norm, Sir Charles Mackerras invests these symphonies with uncommon energy and stature. A fine disc which all Mozarteans should hear. --David Hurwitz

Customer Reviews:

Incredible!.......2007-05-08

Once again, Sir Charles Mackerras and the Prague Orchestra take their art to dizzying heights of rare musical majesty and excellence. These performances are not too heavy but very graceful and eloquent. I highly recommend this recording, just like every other disc in this lauded series of Mozart symphonies. This cd will give you a new appreciation of these essential symphonic works.

Cheesy cover doesn't mean it.......2006-07-03

This is a passionate and vivid recording of some terrific and moving Mozart.

Utterly Airbourne Mozart.......2006-02-22

With nearly three hundred recordings of Mozart's last two symphonies in the current catalogue alone (not to mention those that have been deleted or are in the process of being re-mastered) this final installment in the recordings by Sir Charles Mackerras of the entire symphony cycle proves something special. Mackerras conducts the Prague Chamber Orchestra in these transparent works that make them seem like wind through harp strings.

Some may prefer the more somber, thicker sound of orchestral palette opted for by other master conductors, feeling that the darker sound gives more emotional weight to these final symphonies. But even without the benefit of having heard Mackerras' complete cycle the distinction of this CD is unmistakable. He never forces the fortes, never lets the slow movements become morose, and never uses tempi so fleet that the articulation of the strings is lost. Listen carefully and the subtle use of the harpsichord is present. Mackerras favors the Mozart size chamber orchestra and brisk tempi but polishes these aspects by immaculate playing by his orchestra members who use modern as opposed to period instruments. The result is, well, Mozartean, and rarely have these works felt so completely right.

Making a list of recommended recordings of all of Mozart's works in this his birthday year would definitely place this CD high on the list. It is as though the symphonies are entirely new. Highly recommended. Grady Harp, February 06

Mackerras Makes Magic!.......2005-12-29

When a conductor undertakes the colossal task of recording the entire Mozart symphonic canon, it's pretty safe to assume that a great deal of research went into interpreting the music; and who better to perform the works of Mozart than an orchestra from Prague, the town that adored him. Add Telarc's marvelous digital sound quality into the performance and the result is a recording to die for.

Mackerras' accounts of Mozart's final two symphonies are the most enjoyable, authentic, and technically flawless renderings of these masterpieces I have ever come across. The balance and tone of the Prague Chamber Orchestra is perfect and articulations during fast passages are extremely crisp and clear. The orchestra never sounds distant or muddled, and the music is always exciting.

In the excellent liner notes, Mackerras explains his research into Mozart's original manuscripts in an effort to get as close as possible to performing the music as the composer intended. The orchestra observes all repeats (including the development/recapitulation of sonata form movements), and also adds a subtle basso continuo that is never intrusive.

What stands out the most in Mackerras' interpretation is his choice of faster tempos, especially in the inner movements. The Andantes of both symphonies are often played as Adagios by other orchestras, and Mackerras correctly observes the Andante designation, which, after hearing so many other conductors plod through second movements, is a great relief and gives the movement new life and beauty. Likewise, the minuets are taken at a swift one beat per bar which Mackerras explains is more authentic. Again, this interpretation adds much energy to the dance movements.

For those who are interested, Mackerras performs K550 with the original instrumentation of two oboes and no clarinets rather than the revised edition which included a pair of both. Likewise, only the first violin parts in the Andante of K551 are muted (most performances also mute the second violins). Mackerras made this decision after consulting Mozart's autographed manuscript and concluded that the composer intended to mute the first violins only. Mackerras admits in the liner notes that the change gave the movement more clarity.

Finally, the wind parts, which are often dominated by the strings in other performances, are brought out quite nicely, making their statements when called for and then tastefully retreating back behind the string melodies. The horns in the trio of K550's minuet are especially lovely, as are the flute and double reed solos in the finale of K551.

Having heard more performances of these works than I care to mention, I can say with conviction that these accounts are hands down the most perfect and sublime renderings available today. Add it to immediately to your collection, it's an absolute steal.

Average customer rating:

No. 1 Wedding Album

Manufacturer: Decca
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Classical Wedding

ASIN: B000095J85
Release Date: 2003-05-13

Tracks:

Wedding Bells - The #1 Wedding Album
Bridal Chorus - Wagner
Allegro - Peter Hurford
Trumpet Tune And Air - Philip Jones
Prelude - Pierre Cochereau
Air - J.S. Bach
Largo In F - Randall Wolfgang
Sheep May Safely Graze - J.S. Bach
Largo Ma Non Tanto - Regis Pasquier
My Heart Will Go On - Patricia Spero
Panis Angelicus - Luciano Pavarotti
Ave Maria - Lisa Otto
One Hand, One Heart - Jose Carreras
Alleluja (Allegro) - Arleen Auger
See The Conquering Hero Comes - Simon Preston
Let The Bright Seraphim - Joan Sutherland
Alla Hornpipe - Handel
Wedding March - Stephen Cleobury

Tracks:

Bridal Chorus - Stephen Cleobury
Trumpet Voluntary - John Wilbraham
Trumpet Tune In C - Purcell
Allegro - Maurice Andre
Sonata - The Philip Jones Brass Ensemble
Canon In D - Pachelbel
The Heart Asks Pleasure First - Jean-Yves Thibaudet
Sleepers Awake - Peter Hurford
Greensleeves - Goran Sollscher
Jesu, Joy Of Man's Desiring - J.S. Bach
Ave Maria - Leontyne Price
O Mio Babbino Caro - Ranata Tebaldi
How Lovely Is Thy Dwelling Place - John Scott
Be My Love - Jose Carreras
Because - Placido Domingo
Rondeau - Simon Preston
Wedding Day At Troldhaugen - Wolfgang Marschner
Canzon In Imitation Of An English Bergamask - The Philip Jones Brass Ensemble
La Rejouissance - Handel
Wedding March - Mendelssohn

Average customer rating:

Two fabulous symphonies in a justly famous recording
What can I say...

Mozart: Symphonies Nos. 40 and 41

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004Z1AH
Release Date: 2001-04-10

Tracks:

Symphony No.40 In G Minor, K550: Molto allegro
Symphony No.40 In G Minor, K550: Andante
Symphony No.40 In G Minor, K550: Menuetto: Allegretto
Symphony No.40 In G Minor, K550: Allegro assai
Symphony No.41 In C Major, K551 'Jupiter': Allegro vivace
Symphony No.41 In C Major, K551 'Jupiter': Andante cantabile
Symphony No.41 In C Major, K551 'Jupiter': Menuetto: Alegretto
Symphony No.41 In C Major, K551 'Jupiter': Molto allegro
Die Zauberflote: Overture

Customer Reviews:

Two fabulous symphonies in a justly famous recording.......2005-08-23

Karl Böhm was a famous Austrian conductor who had a special devotion to Mozart, Beethoven, and Richard Strauss. He was justly famous for his interpretations of these composers in his performances and recordings. His recordings of the Mozart symphonies in the 1970s continue to stand the test of time even if they do not display the current fashion in playing Mozart.

Symphonies 40 & 41 are the last two symphonies of Mozart and are glorious treasures of the symphonic form and of all musical arts. These, along with Symphony 39, were composed in a few months in 1788. The two here are the most performed, but all three deserve the highest praise and reward close listening.

The opening of the g minor symphony (40) haunts us and is used so effectively against the other materials of the movement. The slow second movement has an elegance that sounds so simple, but the sixteenth-dotted eighth rhythm used throughout is not only hard to play on the beat for so long, it shifts things for the listener as well because we expect the short note to be a pick up and the long note on the beat. The menuet is unusually poignant in its minor key. The last movement soars. Materials from the other movements are reused in original ways that delight and amaze us.

Symphony 41 became the "Jupiter" in the hands of the English impresario Salomon (who had done so well bringing Haydn to London). It is an utterly amazing work. The first movement has very unusual and otherworldly sonorities that you have to study the score to see how they are pulled off. However, the greatest miracle is the way imitation and fugue is used in the last movement, especially the coda where themes are brought back in a five part fugue that is worthy of Bach, but is utterly free and never sounds strict or fussy: a masterstroke for all time.

To round things out the overture to "The Magic Flute" is included and will delight you as it has nearly everyone who has ever heard it (there are a few stick-in-the mud types).

This is an amazingly priced disk and will reward as many listenings as you care to give it.

What can I say..........2002-05-20

For over twenty years I have tried to love Mozart. Without fail, every hearing of his work made my skin crawl. I would hear interviews with great musicians and singers and listen to them rave about his genius. Knowing that he must be great there I would buy another recording with my favorite singer or conductor's interpretation...nope, and it wasn't that I felt nothing, it would hurt my ears. What I thought strange is that I love Bach and Beethoven and Opera, why didn't Mozart do it for me?

Two months ago I was driving through New York State and I was listening to WQXR, and they began to play one of Mozart's Symphonies, WHAM...every cord, note, phrase was singing to me--it sounded so RIGHT. That feeling did not leave until the final note--I had to hear who was the conductor. Apparently, none of you Mozart lovers will be shocked but the conductor was Karl Bohm.

Tracks:

Molto Allegro
Andante
Menuetto (Allegro)
Finale (Allegro Assai)
Allegro Vivace
Andante Cantabile
Menuetto (Allegretto)
Molto Allegro

Mozart: The Symphonies (Nos 1-41, plus 27 other symphonic works) /AAM * Schroder * Hogwood

Average customer rating:

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

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Complete Mozart Symphonies / Pinnock, English Concert
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ASIN: B000004CYS
Release Date: 1997-06-24

Tracks:

Symphony No. 1 In E Flat Major, K.16: I. Allegro molto
Symphony No. 1 In E Flat Major, K.16: II. Andante
Symphony No. 1 In E Flat Major, K.16: III. Presto
Symphony No. 4 In D Major, K.19: I. Allegro
Symphony No. 4 In D Major, K.19: II. Andante
Symphony No. 4 In D Major, K.19: III. Presto
Symphony In F Major, K.19a-Anh.223: I. Allegro assai
Symphony In F Major, K.19a-Anh.223: II. Andante
Symphony In F Major, K.19a-Anh.223: III. Presto
Symphony No. 5 In B Flat Major, K.22: I. Allegro
Symphony No. 5 In B Flat Major, K.22: II. Andante
Symphony No. 5 In B Flat Major, K.22: III. Allegro molto
Symphony In D Major, K.32: I. Molto allegro
Symphony In D Major, K.32: II. Andante
Symphony In D Major, K.32: III. Menuetto & Trio
Symphony In D Major, K.32: IV. Finale
Symphony In D Major, K.81-K.783l: I. Allegro
Symphony In D Major, K.81-K.783l: II. Andante
Symphony In D Major, K.81-K.783l: III. Allegro molto
Symphony In D Major, K.97-K73m: I. Allegro
Symphony In D Major, K.97-K73m: II. Andante
Symphony In D Major, K.97-K73m: III. Menuetto & Trio
Symphony In D Major, K.97-K73m: IV. Presto

Tracks:

Symphony In D Major, K.95-K73n: I. Allegro
Symphony In D Major, K.95-K73n: II. Andante
Symphony In D Major, K.95-K73n: III. Menuetto & Trio
IV. Presto
Symphony No. 11 In D Major, K.84-K73q: I. Allegro
Symphony No. 11 In D Major, K.84-K73q: II. Andante
III. Allegro
Symphony No. 10 In G Major, K.74: I. Allegro - Andante
Symphony No. 10 In G Major, K.74: II. Rondo (Allegro)
Symphony In D Major, K.87-K74a: I. Allegro
Symphony In D Major, K.87-K74a: II. Andante grazioso
Symphony In D Major, K.87-K74a: III. Presto
Symphony In D Major, K.120-K.111-111a: I. Allegro assai
Symphony In D Major, K.120-K.111-111a: II. Andante grazioso
Symphony In D Major, K.120-K.111-111a: III. Presto
Symphony In C Major, K.96-K.111b: I. Allegro
Symphony In C Major, K.96-K.111b: II. Andante
Symphony In C Major, K.96-K.111b: III. Menuetto & Trio
Symphony In C Major, K.96-K.111b: IV. Allegro molto
Symphony No. 13 In F Major, K.112: I. Allegro
Symphony No. 13 In F Major, K.112: II. Andante
Symphony No. 13 In F Major, K.112: III. Menuetto & Trio
Symphony No. 13 In F Major, K.112: IV. Allegro molto

Tracks:

Symphony In C Major, K.35: Sinfonia: Allegro
Symphony In D Major, K.38: Intrada: Allegro
Symphony In D Major, K.200-K62a: I. Serenata: Allegro
Symphony In D Major, K.200-K62a: II. Menuetto &Trio
Symphony In D Major, K.200-K62a: III. Andante
Symphony In D Major, K.200-K62a: IV. Menuetto & Trio
Symphony In D Major, K.200-K62a: V. Allegro
Symphony No. 9 In C Major, K.73: I. Allegro
Symphony No. 9 In C Major, K.73: II. Andante
Symphony No. 9 In C Major, K.73: III. Menuetto & Trio
Symphony No. 9 In C Major, K.73: IV. Allegro molto
Symphony In D Minor, K.118-K74c: Overture: Allegro - Andante - Presto
Symphony In F Major, K.75: I. Allegro
Symphony In F Major, K.75: II. Menuetto & Trio
Symphony In F Major, K.75: III. Andantino
Symphony In F Major, K.75: IV. Allegro
Symphony No. 12 In G Major, K.110-K75b: I. Allegro
Symphony No. 12 In G Major, K.110-K75b: II. Andante
Symphony No. 12 In G Major, K.110-K75b: III. Menueto & Trio
Symphony No. 12 In G Major, K.110-K75b: IV. Allegro

Tracks:

Symphony No. 14 In A Major, K.114: I. Allegro moderato
Symphony No. 14 In A Major, K.114: II. Andante
Symphony No. 14 In A Major, K.114: III. Menuetto & Trio
Symphony No. 14 In A Major, K.114: IV. Molto allegro
Symphony No. 14 In A Major, K.114: V. Anhang: Menuett K.61g
Symphony No. 15 In G Major, K.124: I. Allegro
Symphony No. 15 In G Major, K.124: II. Andante
Symphony No. 15 In G Major, K.124: III. Menuetto & Trio
Symphony No. 15 In G Major, K.124: IV. Presto
Symphony No. 16 In C Major, K.128: I. Allegro maestoso
Symphony No. 16 In C Major, K.128: II. Andante grazioso
Symphony No. 16 In C Major, K.128: III. Allegro
Symphony No. 17 In G Major, K.129: I. Allegro
Symphony No. 17 In G Major, K.129: II. Andante
Symphony No. 17 In G Major, K.129: III. Allegro

Tracks:

Symphony No. 18 In F Major, K.130: I. Allegro
Symphony No. 18 In F Major, K.130: II. Andantino grazioso
Symphony No. 18 In F Major, K.130: III. Menuetto & Trio
Symphony No. 18 In F Major, K.130: IV. Molto allegro
Symphony No. 19 In E Flat Major, K.132: I. Allegro
Symphony No. 19 In E Flat Major, K.132: II. Andante
Symphony No. 19 In E Flat Major, K.132: III. Menuetto & Trio
Symphony No. 19 In E Flat Major, K.132: IV. Allegro
Symphony No. 19 In E Flat Major, K.132: Anhang: Andantino grazioso (substitute slow movement)
Symphony In D Major, K.185-K167a: I. Allegro assai
Symphony In D Major, K.185-K167a: II. Andante grazioso
Symphony In D Major, K.185-K.167a: III. Menuetto & Trio
Symphony In D Major, K.185-K167a: IV. Adagio - Allegro assai

Tracks:

Symphony No. 20 In D Major, K 133: I. Allegro
Symphony No. 20 In D Major, K 133: II. Andante
Symphony No. 20 In D Major, K 133: III. Menuetto And Trio
Symphony No. 20 In D Major, K 133: IV. Allegro
Symphony No. 21 In A Major, K 134: I. Allegro
Symphony No. 21 In A Major, K 134: II. Andante
Symphony No. 21 In A Major, K 134: III. Menuetto And Trio
Symphony No. 21 In A Major, K 134: IV. Allegro
Symphony In D Major, K 135: I. Molto allegro
Symphony In D Major, K 135: II. Andante
Symphony In D Major, K 135: III. Molto allegro
Symphony In D Major, K 161 - K 163 - K 141a: I. Allegro moderato
Symphony In D Major, K 161 - K 163 - K 141a: II. Andante
Symphony In D Major, K 161 - K 163 - K141a: III. Presto

Tracks:

Symphony No. 26 In E Flat Major, K 184 , K 161a: Molto presto - Andante - Allegro
Symphony No. 27 In G Major, K 199 , K 161b: I. Allegro
Symphony No. 27 In G Major, K 199 , K 161b: II. Andantino grazioso
Symphony No. 27 In G Major, K 199 , K 161b: III. Presto
Symphony No. 22 In C Major, K 162: I. Allegro assai
Symphony No. 22 In C Major, K 162: II. Andantino grazioso
Presto assai
Symphony In D Major, K 181, K 162b: I. Allegro spiritoso
Symphony In D Major, K 181, K 162b: II. Andantino grazioso
Symphony No. 24 In B Flat Major, K 181, K 162b: III. Presto assai
Symphony No. 24 In B Flat Major, K 182, K 173dA: I. Allegro spiritoso
Symphony No. 24 In B Flat Major, K 182, K 173dA: II. Andantino grazioso
Symphony No. 24 In B Flat Major, K 182, K 173dA: III. Allegro

Tracks:

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

Tracks:

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

Tracks:

Symphony No. 28 In C Major, K 200, K 189k: I. Allegro spriritoso
Symphony No. 28 In C Major, K 200, K 189k: II. Andante
Symphony No. 29 In C Major, K 200, K 189k: III. Menuetto (Allegretto) And Trio
Symphony No. 28 In C Major, K 200, K 189k: IV. Presto
Symphony In D Major, K 121, K 207a: I. Allego molto
Symphony In D Major,K 121, K 207a: II. Andante grazioso
Symphony In D Major, K 121, K 207a: III. Allegro
Symphony In D Majr, K 204,K 213a: I. Allegro assai
Symphony In D Major, K 204, K 213a: II. Andante
Symphony In D Major, K 204, K 213a: III. Menuetto And Trio
Symphony In D Major, K 204, K 213a: IV. Andantino grazioso - Allegro

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

Symphony In A Minor, 'Odense', K 16a, Anh. 220: I. Allegro moderato
Symphony In A Minor, 'Odense', K 16a, Anh. 220: II. Andantino
Symphony In A Minor, 'Odense', K 16a, Anh. 220: III. Rondo: Allegro moderato
Symphony In G Major, 'Alte Lambach', K 45a, Anh. 221: I. Allegro maestoso
Symphony In G Major, 'Alte Lambach', K 45a, Anh. 221: II. Andante
Symphony In G Major, 'Alte Lambach', K 45a, Anh. 221: III. Molto allegro
Symphony In F Major, K 76, K 42a: I. Allegro maestoso
Symphony In F Major, K 76, K 42a: II. Andante
Symphony In F Major, K 76, K 42a: III. Menuetto And Trio
Symphony In F Major, K 76, K 42a: IV. Allegro
Symphony No. 6 In F Major, K 43: I. Allegro
Symphony No. 6 In F Major, K 43: II. Andante
Symphony No. 6 In F Major, K 43: III. Menuetto And Trio
Symphony No. 6 In F Major, K 43: IV. Allegro

Tracks:

Symphony In G Major, 'Neue Lambach': I. Allegro
Symphony In G Major, 'Neue Lambach': II. Andante un poco allegretto
Symphony In G Major, 'Neue Lambach': III. Menuetto And Trio
Symphony In G Major, 'Neue Lambach': IV. Allegro
Symphony No. 7 In D Major, K 45: I. Allegro
Symphony No. 7 In D Major, K 45: II. Andante
Symphony No. 7 In D Major, K 45: III. Menuetto And Trio
Symphony No. 7 In D Major, K 45: IV. Finale
Symphony In B Flat Major, K 45b, Anh. 214: I. Allegro
Symphony In B Flat Major, K 45b, Anh. 214: II. Andante
Symphony In B Flat Major, K 45b, Anh. 214: III. Menuetto And Trio
Symphony In B Flat Major, K 45b, Anh. 214: IV. Allegro
Symphony In D Major, K 51, K 46a: I. Molto allegro
Symphony In D Major, K 51, K 46a: II. Andante
Symphony In D Major, K 51, K 46a: III. Molto allegro
Symphony No. 8 In D Major, K 48: I. Allegro
Symphony No. 8 In D Major, K 48: II. Andante
Symphony No. 8 In D Major, K 48: III. Menuetto And Trio
Symphony No. 8 In D Major, K 48: IV. Allegro

Tracks:

Symphony In B Flat Major, Anh. C11.03, Anh. 216, K 3 - 74g: I. Allegro
Symphony In B Flat Major, Anh. C11.03, Anh. 216, K 3 - 74g: II. Andante
Symphony In B Flat Major, Anh. C11.03, Anh. 216, K 3 - 74g: III. Menuetto And Trio
Symphony In B Flat Major, Anh. C11.03, Anh. 215, K 3 - 74g: IV. Allegro molto
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
Symphony No. 37 In G Major, K 444, K 425a, Anh. A53: Mvts II And III By Michael Haydn: II. Andante sostenuto
Symphony No. 37 In G Major, K 444, K 425a, Anh. A53: Mvts II And III By Michael Haydn: III. Finale (Allegro molto)
Symphony No. 40 In G Minor (Second Version), K 550: I. Molto allegro
Symphony No. 40 In G Minor (Second Version), K 550: II. Andante
Symphony No. 40 In G Minor (Second Version), K 550: III. Menuetto And Trio (Allegretto)
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 look at familiar music, as well as lots of exciting new discoveries. Christopher Hogwood tailored his forces to match what we know of the actual size and constitution of the orchestras of the period, and since Mozart wrote symphonies in every country in Europe, including England, France, Italy, Germany, Austria and Czechoslovakia, the result is practically a blueprint of 18th-century orchestral practice. Then everyone else got into the act, and these performances sort of fell off the musical map. Listening to them again, one finds they hold up rather well. There's still the sense of discovery, and of course the music itself is glorious. At budget price, this is history in sound. --David Hurwitz

Customer Reviews:

The original, original instrument take.......2007-05-03

A few months ago I bought the Trevor Pinnock Mozart Complete Symphonies (11 cds) and the 250th Anniversary Edition Mozart Symphonies (8 cds) that is not quite a complete symphony cycle. The Anniversary Edition features Harnoncourt on about 5 of the 8 discs. I also have his two CD twofers that cover the early symphonies. So, I more or less ended up with two complete renditions of Mozart's symphonies. I first bought the Harnoncourt early symphony 2fer and enjoyed it enough to buy volume two. This led me to buy the 250 Anniversay 8 cd set. I have not in the least regretted these purchases!

Harnoncourt is the most radical of these three original instrument takes on Mozart, especially in the late symphonies. For example, listen to symphony 29 by each of these three sets and compare them to the Karl Bohm benchmark 29th. Harnoncourt is Ricky Racer and Bohm is Mr. Serene and Majestic.

Obviously, price is only one of the factors in buying. The AAM costs more but has almost twice the music. The AAM set is probably the more collectable since they got there first. This set was issued in multiple lp boxes way back when and I recently watched just one of these boxes, unopened, go for over 80 bucks at EBAY.

There really is quite a sound difference between modern and original instruments. Rhapsody has the Mozart Horn Concertos posted by the AAM using an apparently valveless horn. Listen to this very squeaky rendition and compare it to Brain's to get a feel for the difference. They also have the Philips Complete Mozart Piano Concerto box that features a pianoforte on disc one of concertos 1 to 4. This instrument sounds more like a harpsichord than a piano and took some adjusting to get used to. The Smithsonian put out on vinyl (circa 1980) The Six Brandenburg Concerti by Bach on original instruments. The booklet gives quite a bit of info on the differences in instruments between modern and original. Here are a few snippets: "The brass instruments were, until the 19th century, valveless." This reduced the number of notes available. "The wind instruments of Bach's time had few keys--the transverse flute had one, the oboe two or three, and the bassoon three--calling for contrived fingerings to cover the full chromatic scale." "The music produced by a Baroque bow is characteristically tapered in shape, with great potential for a lively distinction between notes."

The bottom line for me is that Mozart, when well played, conducted, and recorded, sounds great--be it original instruments or modern. Having both modern and original choices is great. Life is wonderful with changes in flavor. I have only listened once to the AAM Mozart symphonies and have not done a compare and contrast between these and Pinnock's, etc. I was impressed by the consistency in performance and that being very good. It is really quite a feat to put out 19 cds and have them sound great from stem to stern. As an ADD recording, these give the DDDs a run for the money. The AAM Mozart Symphony cycle is posted at Rhapsody so you can look before you leap if you are in the market.

The most complete set of Mozart symphonies ever recorded.......2006-08-10

This massive 19 CD collection contains 71 symphonies!

Yes, all 41 of the usual symphonies are here, but another 27 symphonic works are presented, as well as alternative versions of symphonies Nos. 31, 35 & 40. The works are all recorded on period instruments (or modern copies of 18th century instruments) and the orchestra is accompanied throughout by harpsichord continuo. The sounds of the various sections of the orchestra are full of colour and character - the wind and brass players, in particular, make this set such a delightful one.

I also have the Pinnock recording, which contains only the standard 41 symphonies and it is every bit as good. I can really make up my mind which I prefer, although Pinnock's reading of symphony No. 40 is sublime - particularly in the beautiful slow movement. However, Hogwood and his Academy of Ancient Music play almost all these symphonies with great gusto and style. As another reviewer said, Hogwood allows his musicians to simply play the music and let Mozart's music live in a natural and "organic" way, with minimal interference from the conductor.

Each work tells a story and the recordings of these works remind us of the fact that Mozart wasn't some sort of proto-Beethoven, rather, his music was more like the culmination of many 18th century currents, trends and ideas - "Baroque music on steroids", even! ;-))

This is a set which is very close to my heart and I consider it one of the treasures in my home. I return to it often - at any time of the day or night.

Indispensable .......2004-11-13

This set is indispensable for anyone who seriously wants to have a complete Mozart collection. It contains every symphonic work written by Mozart, including second versions of certain late symphonies.

The playing is "alive" and fresh, the sound is full, warm and clear. What you get is not Hogwood's "interpretation"...but music and just the music, this guy understands Mozart and just lets these musicians play with joy, spontaneity, meaning and feeling. I didn't think they would be so good! There are times when you don't even notice that they're playing on period instruments.

This set is completely satisfying and I'm glad I own it. It's a pricy box set, but totally worth it...try to find it used and bask in the glory of Mozart.

Ok, but...........2004-06-30

I will qualify this review by saying that I have not by any means listened to every single symphony on this recording. I listened to several of the symphonies from this set for a conducting class, and spent a considerable amount of time comparing them with other recordings for phrase structure, dynamics, etc. My conclusion:

Overall, I am personally just not impressed by Hogwood. His handling of the phrases is rough, and the music just doesn't seem polished. Occasionally the balance is questionable (for example, several clarinet passages in the first movement of the 39th stick out), and at other points I get the impression that he put little planning into the organization of strong and weak bars. Perhaps it is mostly personal preference, but other conductors really do sound better.

I think that this recording has its place, as there are few boxed sets of all of Mozart's symphonies available, and certainly there was some groundbreaking period instrument work here. I would, however, strongly recommend that anyone considering purchasing this set actually obtain a copy first from a library to decide if this is really what they want.

A milestone set, and worthy of all praise.......2004-04-29

In the 1970s, the Hungarian conductor Antal Dorati recorded all of the 104 symphonies of Franz Joseph Haydn (Amazon asin # B0000042DP). The era of "epic" integral collections was ignited. Many thought the vast majority of Haydn's symphonies would be boring, cookie-cutter works rolled out in almost assembly-line fashion. But Dorati, with excellent help from the Haydn scholar H. C. Robbins Landon, would disprove all of that, and show that there is not a dud in the whole collection. And Dorati's readings have stood the test of time.

Dorati's achievement marked the beginning of an ea that in the next 2 decades would see complete integral sets of the works of every major composer, culminating ultimately in the 1980s with Phiips complete Mozart Edition.

Shortly after Dorati finished his massive project, the Academy of Ancient Music embarked on a complete traversal of all of the "symphonies" of Mozart on period instruments, the currently reviewed item. Not just the traditional 41, but also many lesser know works. More fascinating music was unearthed. But, the milestone of this set is not the discovery of forgotten masterpieces. That had become a common daily occurence. It was the period instrument movement instead that was set free by Hogwood's achievement. With this project, Hogwood did for period instruments what Dorati did for integral cycles of lesser known works. The period instrument movement had been around for a long time. But it never quite could hit "mainstream" until Hogwood made these recordings. And ever since, period instruments have flourished.

There are better recordings of many of the works in this set, both on period instruments and conventional instruments. But the consistency that runs through the set brings an appreciation for Mozart's Symphonies that is unparallelled.

Customer Reviews:

Great SACD-but breathing into the microphone????.......2003-11-19

The performance is impeccable and the fidelity of this SACD is excellent. Actually, there's so much detail you can hear someone (conductor, sound engineer?) constantly breathing into the microphone, which becomes really obnoxious during the more quiet parts of the performance (thus the 4 star rating).

Exemplary Mozart performance.......2002-01-18

George Szell's Mozart recordings are legendary, and this SACD verson presents a sampling of them in the best possible light. The previous reviewer was evidently referring to the Walter disc in this Sony series, but his remarks apply with equal force to this disc. The untampered DSD transfers preserve the aural profile of the master tapes and recreate faithfully the acoustic of Severance Hall -- a bit dry for some tastes, but allowing every strand of the musical texture to be heard. The transfer is so good you can ever hear pages being turned in unison and Szell audibly urging his forces on (e.g., in the finale to No. 40). Very highly recommended.

Charming & Splendid in every way.......2001-11-07

The performance and sonic of this SACD will make you sit still on your listening chair, especially if you're a real fan of Mozart's music. Very good microphone placement. The CD version in Bruno Walter: The Edition sounds dry, opaque and blocked up in comparison. On SACD, it's very integrated, liquid and lots of high frequency information, breath and air. You can have a sence of the recording location's space from wall to wall and from ceiling to floor. Recommended.

Music Review:

Music Review

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