Known for his intense, insightful interpretations of the classical repertoire, Rudolf Serkin was one of the great American pianists of the mid-century, and seldom was he more in his element than when playing Mozart. This new six-CD release unites for the first time fourteen Mozart concerto recordings made at the height of his career, between 1951 and 1977. His is not a raised-little-finger type of Mozart; it is rugged, has contour, and is a welcome relief from the pretty-pretty conceptions heard only too often , wrote Gramophone of a 1955 recording with the Columbia Symphony Orchestra and Alexander Schneider. With the same orchestra, Serkin is ideally matched (AllMusic Guide) with conductor George Szell; elsewhere he partners Eugene Ormandy and the Philadelphia Orchestra, as well as Pablo Casals at the cellist-conductor s festival in Perpignan for No. 22 ( exultant and miraculous BBC Music Magazine). Recordings from the Marlboro Festival include the Concerto No. 10 for two pianos with his then-teenage son Peter Serkin.
MOZART 111 combines the best of the Austrian master's music with the best of Deutsche Grammophon's Mozart recordings, bringing together a total of 111 works, while retaining, as far as possible, the original album releases with their cover art. There's enough of everything here to stock a shop, as they say, in performances that have stood the test of time and performances that make you sit up and listen to Mozart afresh the perfect way to discover, rediscover and savor the incomparable genius of Wolfgang Amadeus Mozart.
It takes remarkable powers of concentration for a performer to sustain nearly an hour of solo cello music without any support from an accompanying instrument. In this formidable sequence of works the young Russian cellist Boris Andrianov does that triumphantly…The well-known folk-based Song of the Birds by Pablo Casals…brings a performance notably purer than those of Casals himself, at least in his last years. It makes an intensely beautiful close.
When this staging was presented in 1992, in various theatres, Gardiner decided to be his own director because he didn't trust any available alternative to be faithful to Da Ponte's and Mozart's original. In the circumstances his was a sensible decision because his deeply discerning stage interpretation perfectly seconds his own musically perceptive reading. His keen understanding of what this endlessly fascinating work is about is made plain in his absorbing essay in the booklet.
Born in Graz, Austria, Böhm studied law and earned a doctorate on this subject. He later studied music at the Graz Conservatory. On the recommendation of Karl Muck, Bruno Walter engaged him at Munich's Bavarian State Opera in 1921. Darmstadt (1927) and Hamburg (1931) were the next places he resided as a young conductor, before succeeding Fritz Busch as head of Dresden's Semper Opera in 1934. He secured a top post at the Vienna State Opera in 1943, eventually becoming music director.