查看完整版本 : MOZART: Symphonies 38-41 (Scottish Chamber Orchestra. Charles Mackerras)

bravo998 2010-7-25 08:53 AM

MOZART: Symphonies 38-41 (Scottish Chamber Orchestra. Charles Mackerras)


Wolfgang Amadeus Mozart
[size=3]Symphonies No. 38 - 41[/size]
[size=3]Scottish Chamber Orchestra[/size]
[b]Charles Mackerras[/b]


1 Symphony No. 38 in D major (‘Prague’), K.504 - I Adagio - Allegro 17:43
2 Symphony No. 38 in D major (‘Prague’), K.504 - II Andante 11:18
3 Symphony No. 38 in D major (‘Prague’), K.504 - III Finale: Presto 7:46
4 Symphony No. 39 in E flat major, K.543 - I Adagio - Allegro 9:50
5 Symphony No. 39 in E flat major, K.543 - II Andante con moto 8:02
6 Symphony No. 39 in E flat major, K.543 - III Minuetto (Allegretto) & Trio 4:22
7 Symphony No. 39 in E flat major, K.543 - IV Finale: Allegro 7:49

1 Symphony No. 40 in G minor, K.550 - I Molto allegro 7:07
2 Symphony No. 40 in G minor, K.550 - II Andante 13:25
3 Symphony No. 40 in G minor, K.550 - III Menuetto: Allegretto 4:04
4 Symphony No. 40 in G minor, K.550 - IV Finale: Allegro assai 9:27
5 Symphony No. 41 in C major (‘Jupiter’), K.551 - I Allegro vivace 11:28
6 Symphony No. 41 in C major (‘Jupiter’), K.551 - II Andante cantabile 10:27
7 Symphony No. 41 in C major (‘Jupiter’), K.551 - III Menuetto: Allegretto 5:03
8 Symphony No. 41 in C major (‘Jupiter’), K.551 - IV Molto allegro 11:30

Total play time: 139 minutes

Recorded at City Halls, Glasgow, UK from 3-9 August 2007
Engineered by Philip Hobbs
Edited, mixed and mastered by Julia Thomas, Finesplice, UK

[url=http://www.linnrecords.com/recording-mozart-symphonies.aspx][size=3]OFFICIAL LINN RECORDS SITE / BUY MUSIC[/size][/url]

2 Discs | MP3 VBR | 317MB
[url=http://www.mediafire.com/?7q5pvb3xkkk4c7d]Part 1[/url]
[url=http://www.mediafire.com/?5fz1yhrkfk67kvv]Part 2[/url]
[url=http://www.mediafire.com/?b33jc097dqk54cn]Part 3[/url]
[url=http://www.mediafire.com/?mjdim0l77j3ic5y]Part 4[/url]

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[[i] 本帖最後由 bravo998 於 2010-7-25 09:03 AM 編輯 [/i]]

bravo998 2010-7-25 08:57 AM


[b]Winner Critics' Award 2009[/b]
[b]Classical BRIT Awards[/b]

Winner Disc of the Year Award 2009[/b]
[b]Winner Orchestral Award 2009[/b]

[b]Winner Album of the Year 2008
Le Monde de la Musique Choc de l'annee Awards[/b]  

[b]Orchestral Disc of the Month
BBC Music Magazine[/b]

[b]G Star - Recommended

[b][img]http://www.linnrecords.com/img/gallery/MCA%20winner%20logo%20%20for%20web.jpg[/img]Album of the Year (Symphonic Works)
Winner - Midem Classical Awards 2009[/b]

[b]Publisher's Choice Recording
Winner - StereoMojo[/b] [b]Awards 2009[/b]

[b]Blue Moon Award

bravo998 2010-7-25 08:59 AM

Program Note by Sir Charles Mackerras


The four symphonies presented here show Mozart at his most diverse, both in musical content and in orchestral colouration.  At least two of them have a distinctly operatic flavour.  The ‘Prague' Symphony No 38, K.504, performed in that city at the height of the 'Figaro mania', contains many of the sounds and moods we associate with that opera and perhaps even more with Mozart's later Prague opera, Don Giovanni.  Consider the solemn slow introduction which ends with a poignant chromatic passage in D minor so like a cry of pain.  This gives way to an ingenious three part Allegro theme which is repeated over and over again in different contrapuntal combinations (though never once identically).  This is perhaps the most intellectual movement of any of Mozart's symphonies, save perhaps the last pages of the ‘Jupiter'.  The Andante and the mercurial Finale present so many shades and moods, changing continually from major to minor, that they remind one irresistibly of the big finales in Figaro and Don Giovanni.

Similarly, the next symphony, Symphony No 39 in E flat, K.543, has an orchestral colour unique in Mozart's symphonies.  This comes from his use of clarinets rather then traditional oboes as the main woodwind instrument.  Mozart had already used the clarinet in the key of E flat to gorgeous effect in both da Ponte operas (consider much of the music associated with the Figaro Countess and Donna Elvira). He had also used the softer colours of the clarinet in his E flat Piano Concerto, K.482. However, the instrument pervades the whole symphony and there is hardly a phrase where its limpid quality does not add entirely new colours to Mozart's symphonic palette.  The immense range of the clarinet (because of its cylindrical bore) is used to great effect in the trio of the minuet in which the first plays a serene melody high up in its register, while the 2nd chortles away on an accompaniment two octaves lower.

The Symphony No 40 in G minor, K.550, has been described severally as "frantic, anguished neuroticism" (H.C Robbins Landon) and of "Grecian lightness and grace" (Robert Schumann). The outer movements indeed express a nervous quality not present in Mozart's minor key piano concertos or in his earlier 'Sturm und Drang' 'little' G Minor Symphony, K.183.  Note how the consoling second subject in the relative major key sinks to the depth of despair in the recapitulation, as it refuses all comfort in the home minor key.  This is especially true of the Finale where the development section starts off with an almost Schönbergian tone row and then leads the listener through a bewildering number of foreign keys until finally it lands back in its original G minor.

Mozart first composed this tragic work featuring the plangent tones of the oboes against the throbbing of the strings. However, he re-wrote the woodwind parts to include his favourite clarinets.  In the slow movement we again hear the clarinets in the key of E flat, while in the trio of the minuet the oboes are allowed to come to the fore in a sunny G major.

Mozart's last symphony, Symphony No 41 in C major, K.551, later dubbed ‘Jupiter',  probably because of its majestic opening movement or its 'jovial' and 'Titanic' finale, seems to sum up Mozart's whole symphonic production with its subtlety and grandeur. But amidst the fanfares of trumpets and drums of those outer movements, Mozart still has one new colour up his sleeve: the muted violins of the slow 2nd movement. Mozart hardly ever used this colour in a symphony and yet the Master says ‘farewell' to the symphonic form by means of a gorgeous veil over the sound, investing a special quality in it which even pervades the great C Major climax in the second part of the movement.  A truly original colour in this final symphony of endless tonal variety.

© Sir Charles Mackerras, 2007

bravo998 2010-7-25 09:05 AM

Selected Reviews

There is no need to argue the credential of Sir Charles Mackerras as a Mozart interpreter, so let us just say that this double CD of the composer's last four symphonies contains no surprises - it is every bit as good as you would expect. Like many modern instrument performances these days, it shows the period orchestra influences in its lean sound, agile dynamic contrasts, sparing string vibrato, rasping brass, sharp-edged timpani and prominent woodwind, though given Mackerras's long revisionist track-record it seems an insult to suggest that he would not have arrived at such a sound of his own accord. And, in any case this handling of it - joyously supported by the playing of the Scottish Chamber Orchestra - is supremely skilled; rarely will you hear such well judged orchestral balance, such effective marrying of textural transparency and substance. The Jupiter in particular has a wonderful bright grandeur, yet reveals details in the brilliant contrapuntal kaleidoscope of the finale that too often go unheard.

Seldom, either, will you hear such expertly chosen tempi; generally these performances are on the quick side, but rather than seeming hard-driven they exude forward momentum effortlessly worn. Nowhere is this better shown in the slow movements (even with all their repeats they never flag, yet their shifting expressive moods are still tenderly drawn), but also conspicuously successful are the slow introductions to Symphonies Nos 38 and 39 (the former ominous, but alert, the latter full of intelligent anticipation with shivery violin lines falling like cold rain down the back of the neck) and the Minuet movements of Nos 40 and 39 (whose cheeky one-on-a-bar lilt does wonders for its tootly clarinet Trio).

These are not Mozart performances for the romantics out there. But neither are they in the least lacking in humanity. No, this is thoroughly modern-day Mozart, full of wisdom and leaving the listener in no doubt of the music's ineffable greatness.

Gramophone Recommended.

[i]07 March 2008
Lindsay Kemp[/i]

These performances are so exhilarating that I listened to all four symphonies straight through at a first hearing, mesmerised by the variety and intensity of the music itself, sounding here completely fresh, and the virtually flawless renderings by the excellent Scottish Chamber Orchestra, with Sir Charles Mackerras at his most penetrating. Perhaps the first thing that strikes one is the rawness of so much of this music, emphasised in accounts which give encouragement to the winds to blow their hardest, and with a string section of only 24 players. Then there is the scale: the first movements of the Prague Symphony lasts for 18 minutes, since Mackerras takes every repeat. In such a rich and innovative movement, that is certainly justified, but it shows Mozart working on what is normally thought of as a Beethovenian scale. The strenuous seriousness and originality of Mozart's outer movements, and the colour of his orchestration, maybe shouldn't come as any surprise, but the wonderful thing here is that for almost anyone, I think, they will. Mackerras doesn't short-change us on the tenderness and often painful lyricism, either, nor is he afraid to relax the tempo as a festive or belligerent motif gives way to a gentler one, with the strings, despite their small number, ravishing us with their tone.

Obviously there are a few points where one can differ; given that the minuet of the 40th Symphony is marked allegretto, I was surprised to hear it played so briskly, when a slower tempo would underline its grimness. And on the matter of repeats, wouldn't it be permissible to play many of them but not all? As it is, what we get is two whole performances of each work, with tiny exceptions. If each section of a minuet is repeated the first time, need there be repetitions the second time round? I only ask. Whatever one's small reservations, these two discs show as clearly as any I know the largeness of the human spirit, and renew one's astonishment at Mozart's sovereign genius.

[i]01 March 2008
BBC Music Magazine
Michael Tanner
5 Stars[/i]

bravo998 2010-9-24 03:23 PM

03 - Symphony No 38 in D major Prague K 504 - III Finale Presto.flac
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