Brendel is not my favorite pianist, but I always enjoy listening to him and studying the score. He always has something interesting to say and superb pianism. Even when I disagree with an interpretation, he rarely becomes predictable. More often he finds and conveys something special
Thank you for uploading this heavenly beautiful performances of some Mozart's most exquisite chamber music works, which is sadly still sort of under the radar compare to some of his most famous masterpieces (not only overplayed but also overused by all kinds of media)
I doubt there is any music better than Mozart's chamber music masterpieces, they are equally great as his own piano concertos and the Da Ponte operas. and they are seriously underplayed.
@loge10 occasionally I see it programmed recently, it's such a fun piece but very awkward even for the virtuosos. I know Ashkenazy, Barenboim, Schiff, Richter all played it in years passed. I noticed Yuja is playing it this season too. Great piece!
oh my gosh, this recording is magnificent. I like the slightly under-tempo rendering of the first movement; it gives you a chance to absorb and appreciate the brilliant contrapuntal passages. And that Chicago brass...
The "Mosaïques Quartet" performances are always magnificent, as is also this rendition. In my (modest) opinion is their performance of the famous op.20 quartets the best I ever have heard. Thanks !
The first theme of the trio K 564 (20:21) is very similar to the first theme of the final movement of Devienne's Sinfonie concertante [F] pour cor et basson (1785) : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-4CB6EQHOQug.html . Mozart's trio is from 1788 and Devienne's Symphony from 1785.
Haydn's mastery of the genre here as great as ever. Some theorize that he stopped at 2 (rather than the customary set of 6) because he was intimidated on hearing Beethoven's Opus 18 (published at about this time) and realized the torch had passed. I don't buy that theory (the torch, if that it was, wouldn't be passed until Beethoven's Middle Period, which began after Haydn had died). He took time off to write a bunch of choral music and after the last of his masses resumed writing string quartets with Opus 103 (so much for the Beethoven theory) which sadly his health kept him from finishing.
You are quite correct in stating that Haydn not completing the set of six commissioned by Prince Lobkowitz had absolutely nothing to do with Beethoven’s Opus 18 which were commissioned at almost exactly the same time by the same person. Haydn was at the time working on his enormous oratorio The Seasons and as he himself said, it virtually finished him off as a composer - he was exhausted by the effort and even if he never heard a note of Beethoven’s Opus 18, he never would have got past the two quartets he did complete (along with the torso of a third, known as Opus 103). After The Seasons, Haydn managed little beyond the last two of the annual masses for the Princess, and some highly lucrative but undemanding folk-song arrangements for England, and as you rightly state, the attempt to complete Opus 103 failed, and indeed caused him much distress. A similar story is often repeated in relation to Haydn giving up opera because he heard Figaro (1786), Don Giovanni (1787), Così fan tutti (1789/90), and the like; this too is nonsense as he had in fact given up writing comparable dramma giocosa-type operas several years earlier, the last being Orlando Paladino (1782); the opera seria Armida was his actual last Eszterhaza opera written in 1784. These dates need memorising by those who repeat the Mozart/Haydn and opera nonsense before they propagate the myth, as was done recently by the influential US critic David Hurwitz on his channel. In short: the allegations of Haydn giving up string quartets because of Beethoven, and opera because of Mozart are both as inaccurate as to fact as they are misguided in judgement.
If I had never heard the second movement before, I would just assume it was a slow movement from Beethoven Op. 18. Its amazing to hear the qualities in Haydn’s music that influenced early Beethoven.
There's an article by Mark Anson-Cartwright called Haydn's Hidden Homage to Mozart: Echoes of "Voi che sapete" in Opus 64, No. 3". Thank you for your commentary!
The music of Faso is an inexhaustible source of sweetness. It allows us to plunge deep inside ourselves and at the same time resonate with our fellow man, Yé Lassina Coulibaly
A extraordinária psrformance do pianista Claudio Abbado no belisdimo converto n 2 de Bartok. Bella BRtok é surreal e de ima modernidade atempiral. Impressionantes
I have listened to most of the Reger Viola solo suite recordings on youTube. Having practiced those for most of my life, I do now them extremely well. This recording bei Immai is the best (together with the early Bashmet recording of the g minor Suite) interpretation. It makes musical sense to me and all three are played with remarkably pure intonation and in the right style. For example, so many other recordings of the 4th movement 'molto vivace' of the g minor, end up far too fast like perpetuum mobiles. Also the length of this movement become far too short in relations to the other movement if played too fast.
After hearing the HAYDN QUARTETS ~ Franz Joseph said to Wolfgang's father, "I know of no dead or living composer greater than your son." The Talich Quartet perform them radiantly.
I saw & heard fountains of chocolate milk gush from her paradise, without laughing the stars began to chat and ceased to scroll and we to grab hold of their golds at dawn. The sun was dizzy and the moon, stirred, hid behind a section of clouds in the shape of a barbapapa 🦄🌺
