# The great Mozart Thread



## justekaia (Jan 2, 2022)

It is my conviction that Mozart is one of the all time greats and that he is not appreciated as he should be. He has contributed a lot of novelties to classical musical.His operas stand foremost in my opinion because of his successful cooperation with Da Ponte.He has successfully expanded the scope of the string quartet, initiated by Joseph Haydn.
His symphonies, especially his numbers 36-41 rank among the finest. He gave the beautiful clarinet instrument its"Lettres de Noblesse" with the clarinet concerto and the quintet. Some of his piano music like the K 397 are simply proto Beethovenian. His violin concertos are among the best.There is much beautiful sacred music to add, including the Requiem. The purpose of this thread is to share best works and best performances. I am particularly interested by recordings after 1980 which benefit from superior technology and maybe better understanding of the master's music.
In order to kickstart the thread i will share my personal collection with our members.


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## Monsalvat (11 mo ago)

justekaia said:


> I am particularly interested by recordings after 1980 which benefit from superior technology and maybe better understanding of the master's music.


We now have the complete _Neue Mozart-Ausgabe_, published by Bärenreiter, as a scholarly-critical edition of the complete works of Mozart. I don't know how much this has affected performance but you raise an interesting point about our understanding of his music changing. It's become more fashionable recently (as it certainly has with Beethoven) to play Mozart with smaller orchestras and at least some awareness of historical practices; for example, Simon Rattle's recording of the 39th, 40th, and 41st symphonies with the Berlin Philharmonic, or Abbado's recordings of the late symphonies with Orchestra Mozart, and of course John Eliot Gardiner's recordings. I think I still prefer "big-band" Mozart, in general, and I wouldn't want to give up Szell, Böhm, Bruno Walter, Klemperer, or even Karajan. It's odd, because I absolutely prefer Bach on period instruments, but Mozart and Beethoven I like with modern instruments and ensembles.

I think that for me, to share what I think are the best works and best performances would be a very long task! But also, part of what I enjoy about comparing recordings is trying to see what the performers are aiming at. What are they focusing on? Everyone can bring something different to the table. This is especially true in the operas. It can get interesting in the piano concertos, which are sometimes conducted from the keyboard. We are fortunate that in his short time on Earth, Mozart left such a voluminous legacy, and that there are so many high-quality works included in that legacy in so many different genres as there are.


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## justekaia (Jan 2, 2022)

Symphonies
-Symphonies 1-36, 38-41, Prague Chamber Orch-Mackerras*
-Symphonies 21-36, 38-41, St Martin Academy-Marriner, Freiburger Barockorch-Von der Goltz (31) PI
-Symphonies 25, 26, 29, Le Cercle de l’Harmonie-Rhorer
-Symphonies 35-36, The Prague Philharmonia-Belohlavek*
-Symphonies 38-41, Freiburger Barock Orch-Jacobs. PI*
-Symphonies 35-36, 38-41, BPO-Karajan*, Danish Nat Chamber Orch-A.Fischer PI
-Symphony 39, BPO-Giulini
-Symphony 39-41, Anima Eterna-Van Immerseel PI
-Sinfonia Concertante in A, KV app 104/320 e, Brown-Imai-Orton-Academy of St Martin
-Sinfonia Concertante for wind instruments KV 297b, BPO-Giulini, Orpheus Chamber Orch
-Sinfonia Concertante for violin, viola and orchestra KV 364, Imai-St Martin Academy-Brown PI*, Carmignola-Waskiewicz-Orchestra Mozart-Abbado PI*, Mutter-Bashmet-London PO, Podger-Orchestra of the Age of Enlightenment-Beznosiuk PI, Phillips-Gallagher-Orpheus Chamber Orchestra, Frang-Rysanov-Arcangelo-J.Cohen*, J.Fischer-Nikolic-Netherlands Chamber Orch-Kreizberg

Orchestral Music
a) Piano Concertos
-Piano Concertos 1-27, Perahia-English Chamber Orch*, Brendel-Academy St Martin-Marriner (9, 12, 14, 15, 16, 18-27), Sokolov (23), Yeol Eum Son-Academy of St Martin-Marriner (21), Lisiecki-BRSO- Zacharias (20-21), Grimaud-camerata Salzburg (20), Uchida-Cleveland Orchestra (9, 17, 18, 19, 20, 21, 23, 24, 25, 27)*, Piemontesi-Scottish Chamber Orch-Manze (19, 25-26, 27), Van Immerseel-Anima Eterna (5, 6, 8, 9, 11-28) PI, Staier-Freiburger Barockorch-Von der Goltz (27) PI, Bezuidenhout-Freiburger Barockorch-Müllejans (17, 22) PI, Bezuidenhout-Freiburger Barockorch-von der Goltz (11-13) PI
-Piano Concertos (19, 23), Pollini-VPO-Bohm
-Piano Concertos, Kissin-Kremerata Baltica (20, 27)
-Piano Concertos, Kovacevich-LSO-C.Davis (20, 21, 23, 25)*
-Piano Concerto, Y.Sudbin-Minnesota Orch-Vänskä (24)
-Piano Concerto, Argerich-Italian Swiss Orch-Kaspszyk (20, 25)
-Piano Concertos, Anderszewski-Scottish Chamber Orch (17, 20), Anderszewski-Sinfonia Varsovia (21, 24), Anderszewski-Chamber Orch of Europe (25, 27)
-Concerto for two pianos no 10 KV 365/316a, Perahia-Lupu
-Concerto for three pianos no 7 KV 242 Lodron, Perahia-Lupu
b) Violin Concertos
-Violin Concertos 1-5, Carmignola-Orchestra Mozart-Abbado ,J.Fischer-Netherlands Chamber Orch-Kreizberg, Hahn-German Chamber Orch Bremen-P.Järvi (5), Repin-Vienna Chamber Orch-Menuhin (2, 3, 5), Faust-Il Giardino Armonico-Antonini*, Frang-Arcangelo-J.Cohen (1, 5)*
c) Various
-Concertone for 2 violins, piano and orchestra KV 190/ 186 E, J.Fischer-Nikolic-Netherlands Chamber Orch-Kreizberg, Ensemble 415-Banchini
-Bassoon Concerto KV 191, Gower-Anima Eterna PI, Orpheus Chamber Orch
-Serenata Notturna KV 239, BPO-Karajan, Le Concert des Nations-Savall PI, Kremer-Kremerata Baltica, Ensemble 415-Banchini
-Adagio for violin and orchestra KV 261, Dumay-Hagen-Camerata Academica Salzburg, Faust-Il Giardino Armonico-Antonini*, N.Benedetti-Academy of St Martin-MacMillan
-Rondo for violin and orchestra KV 269/261a, Faust-Il Giardino Armonico-Antonini
-Concerto for flute, harp and orchestra KV 299, Orpheus Chamber Orch, Pahud-BPO, Theuns-De Haer-Anima Eterna-Van Immerseel
-Concerto for flute and orchestra KV 313, Orpheus Chamber Orch
-Concerto for oboe and orchestra KV 314, Boyd-Chamber Orch of Europe-Berglund, Orpheus Chamber Orch, Gabetta-Chamber Orch Basel-Ciomei (arr. for cello), Francis-London Mozart Players-Shelley, Ogrintchouk-Lithuanian Chamber Orch
-Andante for flute and orchestra KV 315, Orpheus Chamber Orch
-Concerto for violin, piano and orchestra KV app 56/315 f, Szeryng
-Concerto for 2 pianos KV 365, Van Immerseel-Kaneko-Anima Eterna
-Rondo in C major KV 373 for violin and orchestra, J.Fischer-Netherlands Chamber Orch-Kreizberg, Faust-Il Giardino Armonico-Antonini
-Rondo for piano and orchestra KV 386, Piemontesi-Scottish Chamber Orch-Manze
-Horn Concerto no 1 KV 412 + 514, Harnoncourt-Concentus Musicus Vienna PI,
Orpheus Chamber Orch
no 2 KV 417, Orpheus Chamber Orch
no 3 KV 447, Orpheus Chamber Orch
no 4 KV 495, Orpheus Chamber Orch
-Horn Concerto no 3 KV 447, Hübner-Anima Eterna-Van Immerseel
-Eine kleine Nachtmusik KV 525, BPO-Karajan, Le Concert des Nations-Savall PI, Kremerata Baltica,
-Adagio and Fuge KV 546, BPO-Karajan*, Irish Chamber Orch-Widmann
-Clarinet Concerto KV 622, Hans Deinzer-Collegium Aureum, Sabine Meyer-BPO-Abbado, King-English Chamber Orch-Tate, Fröst-Amsterdam Sinfonietta-Oundjian*, L.Coppola-Freiburger Barock Orch-Von der Golz, S.Kam-Haydn Philharmonie, Orpheus Chamber Orch, Hoeprich-Orch 18th Century-Bruggen
d) Divertimentos
-Divertimento KV 136, 137, 138, 334, BPO-Karajan*
e) Funeral Music
-Maurerische Trauermusik KV 477, Le Concert des Nations-Savall, Orch 18th Century-Bruggen

Chamber Music
a) String Quartets
-Q 1-23, Hagen Qt*, Quatuor Mosaiques (387, 421, 428, 458, 464, 465, 499, 575, 589, 590) PI*, Quatuor Ebene (421, 465), Leipzig Quartet (387, 421, 428, 458, 464, 465, 499, 575, 589, 590), Auryn Quartet (387, 421, 428, 458, 464, 465), Chiaroscuro Qt (421, 428, 465) PI*
b) Sonatas for violin and piano or pianoforte
-S KV 46 d, 46e, 296, 301, 302, 303, 304, 305, 306, 376, 377, 378, 379, 380, 403, 454, 481, 526, 547, Hahn-Zhu (301, 304*, 376, 526*), Podger-Cooper PI*, Van Immerseel-Seiler (376, 377, 379, 380, 454, 481, 526) PI, Faust-Melnikov (301, 302, 304, 305, 306, 376, 377, 378, 379, 454, 526) PI
c) Sonatas for violin and harpsichord
-S K 6-15, 26-31, Podger-Cooper PI
d) Sonata variations and movements for violin and piano
-12 Variations KV 359, Van Keulen-Brautigam
-6 Variations KV 360, Grumiaux-Klien
-Allegro KV 372, Podger-Cooper PI
-12 Variations La Bergère Célimène KV 374 a, Szeryng-Haebler PI
-6 Variations Hélas j’ai perdu mon amant KV 374b, Szeryng-Haebler PI
-Adagio KV 396, Podger-Cooper PI
-Andante KV 402, Podger-Cooper PI
-Andante and allegretto KV 404, Podger-Cooper PI
e) Divertimenti and marches for strings and wind
-Divertimenti KV 113, 136, 137, 138, 205, 247*, 251, 287*, 334*, Academy of St Martin PI, L’Archibudelli ( 247, 334) PI*, Quatuor Ebène (138)
-Notturno in D for 4 orchestras KV 286, Le Concert des Nations-Savall PI
-March KV 248, 290, 445, Academy of St Martin PI
-A Musical Joke KV 522, Academy of St Martin PI, l’Archibudelli PI
-Serenade in G major KV 525 Eine kleine Nachtmusik, Academy of St Martin PI, Le Concert des Nations-Savall PI, Takacs Quartet, Kremer-Kremerata Baltica
f) Divertimenti and serenades for wind instruments
-Divertimento KV 166, 186, 213, 240, 252, 253, 270, Holliger Wind Ensemble
-Divertimento KV 188, Academy of St Martin PI
-Divertimento KV 226, 227, 229, 289, Netherlands Wind Ensemble
-Adagio KV 94, 410/484d, 411/484a, Holliger Wind Ensemble
-Serenade KV 361/370a, Marriner-Academy of St Martin PI, Harmonie Orch Champs Elysées-Herreweghe, Orpheus Chamber Orch
-Serenade KV 375, Holliger Wind Ensemble, Orpheus Chamber Orch, Nachtmusique
-Serenade KV 388/384a, Holliger Wind Ensemble, Harmonie Orch Champs Elysées-Herreweghe
-Duos KV 487/496a, Netherlands Wind Ensemble, l’Archibudelli (2, 5, 8, 10) PI
g) String Duos and Trios
-Duos for violin and viola KV 423, 424, l’Archibudelli PI
-Sonata KV 266, Academy of St Martin
-Divertimento (String Trio) KV 563, Kremer-Kaskashian-Yo-Yo Ma*,SSENS Trio, l’Archibudelli PI
h) Preludes and fugues for violin, viola and cello
-Preludes and Fugues KV 404a, Grumiaux Trio
i) String Quintets
-SQ KV 174, 406, 515, 516, 593, 614, Rehak-Talich Qt, Imai-Auryn Quartet, La Marca-Quatuor Van Kuijk (515-516), L.Williams-Lindsays (515-593-614), P.Ireland-Lindsays (516), Ensemble 415 (515-516) PI, M.Wolf-Alban Berg Quartet (515-516)_, F.Beyer-Melos Quartett (593, 614), Beyerlé-Prazak Quartet (516, 593)_, l’Archibudelli (515, 516) PI
j) Piano Trios
-Trio for piano and strings KV 254, Beaux Arts Trio, The Florestan Trio
-Piano Trios KV 496, 498, 502, 542, 548, 564, The Florestan Trio (KV 496, 502, 542, 548, 564), Quatuor Mosaiques (KV 498) PI, l’Archibudelli (498) PI
k) Piano Quartets
-PQ KV 478, 493, Lewis-The Leopold String Trio, Kissin-Emerson Qt (478)
l) Piano and Wind Quintet
-PQ KV 452, Hough-Berlin Phil Wind Quintet, Les Vents Français
m) Music for glass harmonica
-Adagio KV 356/617a, Beaux Arts Trio
-Adagio and Rondo KV 617, Beaux Arts Trio, Hough-Berlin Phil Wind Quintet (arrang. for piano, oboe, clarinet, horn and bassoon)
n) Clarinet Quartet
-Clarinet Quartet K 378, l’Archibudelli PI
n) Clarinet Quintet
Q KV 581, Emerson String Quartet, Quatuor Mosaiques PI, Talich Quartet, Fröst-Vertavo String Quartet, l’Archibudelli PI, S.Kam-Van Keulen-Mathe-Jacobsen-Rivinius*, Hoeprich-London Haydn Quartet
o) Flute quartets
-Q KV 285, 285a, 285b, 298, Les Adieux
p) Oboe Quartet
-Q KV 370, Les Adieux, Ogrintchouk-Brovtsyn-Rysanov-Blaumane*
q) Sextet
-Grande Sestetto Concertante after K.364, l’Archibudelli PI
r) Horn Quintet
-Quintet for horn, violin, 2 violas and cello K.407, l’Archibudelli PI
s) Violin solo
-Cassation KV 63, Banchini
t) Music for cello and piano
-Rondo in C K373 for cello and piano, R.Locker-M.Locker
u) various
-Violin Sonata K 378 (arr. for oboe and piano), A.Ogrintchouk-L.Ogrintchouk
-Preludes and Fugues KV 404a, SSENS Trio
-5 Fugues (after Bach) KV 405, Hagen Qt
-Adagio for 2 clarinets and 3 basset horns KV 411, Hoeprich-Salar Verdu-van Waas-Thomas-L.Coppola
-Adagio and Fugue KV 546, Hagen Qt
-Die Zauberflöte KV 620 (arr.for chamber ensemble), Nachtmusique

Piano Sonatas

Piano Sonatas (Bezuidenhout and Staier play the pianoforte)
KV 279-284, 309-311, 330-333, 457, 521, 533+494, 545, 570, 576, Uchida*, Bezuidenhout*, Perahia (310, 331, 533), Sokolov (280, 332, 457, 545), Pogorelich (283, 331), Staier (282, 330-332, 457), Hamelin (282, 283, 330, 332, 333, 545, 570, 576), Koroliov (282, 330, 331, 332, 333, 457), Yeol Eum Son (330), Olafsson (457, 545)
Piano Sonata for 4 hands KV19 D, 358, 497*, 521, Tal-Groethuysen, Schornsheim-Staier (358)
Piano Sonata for 4 hands KV 381, Schornsheim-Staier, Pires-Argerich
Piano Sonata for double piano KV 381, 448: Tal-Groethuysen, Perahia-Lupu (448), Argerich-Babayan (448), Schiff-P.Serkin (448)

Other Piano Music

Variations
(Haebler plays piano, Bezuidenhout pianoforte, Egarr harpsichord, Koopman harpsichord)
-8 V KV 24, Ingrid Haebler
-7 V KV 25, Haebler
-12 V KV 179/189a, Haebler
-6 V KV 180/173c, Haebler, Bezuidenhout
-9 V KV 264/315d, Haebler, Bezuidenhout, Yeol Eum Son
-12 V KV 265/300e, Haebler, Bezuidenhout
-8 V KV 352/374C, Haebler, Bezuidenhout
-12 V KV 353/300f, Haebler, Bezuidenhout
-12V KV 354/299a, Haebler, Bezuidenhout
-6 V KV 398/416e, Haebler, Bezuidenhout, Trpceski
-10 V KV 455, Haebler, Bezuidenhout, Staier
-Variations on “Como un Agnello KV 460, Trpceski
-9 V KV 573, Haebler, Bezuidenhout
-8 V KV 613, Haebler
-Allegretto and 12 V KV 500, Haebler, Bezuidenhout

Various
(Egarr, Bezuidenhout on pianoforte, Koopman on harpsichord)
-Andante KV 1a, Koopman
-Allegro KV 1b, 1c, 3, 9a/5a, Koopman
-Menuet KV 1d, 1e, 1f, 2, 4, 5, 94/73h, Koopman
-Piano piece KV 33b, Koopman
-Adagio KV 206a, Bezuidenhout
-Four Preludes KV 284a, Bezuidenhout, Staier
-Allegro in G minor KV 312, Bezuidenhout
-Menuet KV 355/576b, Uchida, Bezuidenhout, Egarr, Zacharias
-Adagio for glass harmonica KV 356/ 517A, Egarr
-Allegro and Andante KV 357 (497 and 500a) for 2 P, Tal-Groethuysen
-Prelude and Fugue KV 394/383a, Koopman, Bezuidenhout, Egarr
-Capriccio KV 395/300g, Koopman, Egarr
-Fantasia in C minor KV 396, Bezuidenhout, Egarr, Zacharias
-Fantasia KV 397/385g, Uchida, Pogorelich*, Bezuidenhout*, Egarr, Hamelin, Zacharias*, Fukuma, Lubimov, Olafsson
-Suite KV 399/385 I, Koopman, Bezuidenhout, Staier
-Allegro in B flat major KV 400, Koopman, Bezuidenhout
-Fugue KV 401/375e, Koopman
-Fugue KV 401 for 4H, Tal-Groethuysen
-March in C major KV 408, Egarr
-Fugue KV 426, Schiff-P.Serkin
-Little funeral March KV 453a, Koopman, Bezuidenhout, Egarr, Zacharias
-Fantasia in C minor KV 475, Uchida*, Sokolov, Bezuidenhout*, Staier, Anderszewski, Fukuma, Zacharias, Koroliov
-Rondo KV 485*, 511*, Uchida, Bezuidenhout, Egarr, Hamelin, Zacharias, Koroliov, Olafsson (485)
-Rondo KV 494, Zacharias, Olafsson
-Andante and 5 Variations KV 501, Perahia-Lupu, Argerich-Kovacevich, Tal-Groethuysen
-6 German Dances KV 509, Schornsheim-Staier
-Adagio from String Quintet K 516, Olafsson
-Adagio KV 540, Uchida*, Bezuidenhout, Egarr, Schuch, Zacharias*, Olafsson
-Adagio K 546 and Fugue in C minor KV 426 for 2 P, Tal-Groethuysen
-Small Gigue KV 574, Uchida, Bezuidenhout, Egarr, Staier, Hamelin, Zacharias, Olafsson
-Piece for organ in a Clock KV 594 for 4H, Tal-Groethuysen
-Fantasia in F minor (arranged for 2 pianos by Busoni) KV 608, Perahia-Lupu, Tal-Groethuysen
-Ave verum Corpus KV 618, Olafsson
-Modulating Prelude KV 624/626a, Bezuidenhout, Staier
-Larghetto and allegro for 2P, Tal-Groethuysen

Operas
-Don Giovanni, Weisser-Regazzo-Freiburger Barock-Jacobs PI*, Wächter-Sutherland-Philharmonia Orch-Giulini
-Die Zauberflöte, Behle-Petersen-Akademie für alte Musik Berlin-Jacobs PI*, Oelze-Schade-Monteverdi Choir-The English Baroque Soloists-Gardiner PI, Röschmann-Strehl-Pape-Mahler Chamber Orch-Abbado
-Le Nozze de Figaro, Gens-Ciofi-Concerto Koln-Jacobs PI*, Giulini-Philharmonia Chorus+Orch, D’Arcangelo-Harnoncourt-VPO-Harnoncourt
-Cosi Fan Tutte, Gens-Fink-Concerto Koln-Jacobs PI, Persson-Brouwer-Plachetka-Villazon-Chamber Orch of Europe-Nézet-Séguin*
-La Clemenza di Tito, English Baroque Soloists-Gardiner PI, Padmore-Pendatchanska-Fink-Freiburger Barock Orch-Rias Chamber Choir-Jacobs PI
-Idomeneo, Croft-Fink-Freiburger Barock Orch-Jacobs PI*, Domingo-Bartoli-Met Opera Orch+Chorus-Levine
-Lucio Silla, Schreier-Gruberova-Bartoli-Upshaw-Concentus Musicus Wien-Harnoncourt PI
-Mitridate, Bartoli-Dessay-Les Talens Lyriques-Rousset PI
-La Finta Giardiniera, Karthäuser-Ovenden-Freiburger Barock Orch-Jacobs PI
-Die Entführung aus dem Serail, Gruberova-Battle-VPO-Solti, Johanssen-Erismoen-Akademie für alte Musik Berlin-Rias Chamber Choir-Jacobs PI


Overtures
-La Clemenza de Tito, Norwegian National Opera Orch (NNOO)-Alessandrini, La Cetra Barockorch Basel-Marcon PI
-Le Nozze di Figaro, NNOO-Alessandrini, La Cetra-Marcon PI
-Die Zauberflöte, NNOO-Alessandrini, La Cetra-Marcon PI
-Die Entfuhrung aus dem Serail, NNOO-Alessandrini, La Cetra-Marcon PI
-Der Schauspieldirektor, NNOO-Alessandrini, La Cetra-Marcon PI
-Idomeneo, NNOO-Alessandrini, La Cetra-Marcon PI
-Mitridate, NNOO-Alessandrini, La Cetra-Marcon PI
-Don Giovanni, NNOO-Alessandrini, La Cetra-Marcon PI
-Les petits Riens, NNOO-Alessandrini
-Bastien und Bastienne, NNOO-Alessandrini, La Cetra-Marcon PI
-Cosi fan Tutte, NNOO-Alessandrini, La Cetra-Marcon PI
-La Clemenza de Tito (Marcia), NNOO-Alessandrini, La Cetra-Marcon PI
-Il Re pastore, La Cetra-Marcon PI
-Lucio Silla, La Cetra-Marcon PI
-La Betulia liberata, La Cetra-Marcon PI
-Apollo et Hyacinthus, La Cetra-Marcon PI
-La Finta semplice, La Cetra-Marcon PI
-Ascanio in Alba, La Cetra-Marcon PI


Sacred Music
-Requiem, Rubens-Markert-Bostridge-Müller Brachmann-Orch des Champs-Elysées-Herreweghe*, Kirkby-Watkinson-Rolfe Johnson-Westminster Cathedral Boys Choir-Chorus & Orch of the Academy of Anient Music-Hogwood, Bonney-Von Otter-Blochwitz-Monteverdi Choir-English Baroque Soloists-Gardiner PI, Tomowa-Sintow-Müller Molinari-VPO-Karajan*, Arnet-Stephany-A.Kennedy-D.Jeffery-LSO & Chorus-C.Davis, M.Figueras-C.Schubert-Türk-Schreckenberger-La Capella Reial de Catalunya-Le Concert des Nations-Savall PI
-Inter natos mulierum K 72, RIAS Chamber Choir-Radio SO Berlin-Creed
-Missa Solemnis KV 139, Lindsley-Schreckenbach-Hollweg-RIAS Chamber Choir-Radio SO Berlin-Creed*
-Exsultate, Jubilate KV 165, Bonney-The English Concert+Choir-Pinnock PI*, Bartoli-Vienna Chamber Orchestra-G.Fischer, Lezhneva-Il Giardino Armonico-Antonini*
-Missa brevis KV 194, Radio SO Leipzig-Kegel
-Misericordis Domini K 222, RIAS Chamber Choir-Radio SO Orch Berlin-Creed
-Litaniae K 243, Schoenberg Choir-Concentus Musicus Wien-Harnoncourt
-Missa K 252, Schoenberg Choir-Concentus Musicus Wien-Harnoncourt
-Venite Populi K 260, RIAS Chamber Choir-Radio SO Berlin-Creed
-Sancta Maria, mater Dei K 273, RIAS Chamber Choir-Radio SO Berlin-Creed
-Missa brevis KV 275, Radio SO Leipzig-Kegel
-Coronation Mass KV 317, Bonney-Rogers-Mac Dougall-The English Concert & Choir-Pinnock PI*
-Missa solemnis K 337, Radio SO Leipzig-Kegel
-Kyrie 341, Chapelle Royale-Collegium Vocale Gent-Orch Champs Elysées-Herreweghe*
-Missa in C minor KV 427, Hendricks-Wiener Singverein-BPO-Karajan*, Mac Nair-Gardiner-Monteverdi Choir-English Baroque Soloists-Gardiner PI*, Oelze-Larmore-La Chapelle Royale-Collegium Vocale Gent-Orch Champs-Elysées-Herreweghe
-Maurerische Trauermusik K 477, La Chapelle Royale-Orch Champs-Elysées-Herreweghe*
-Ave verum Corpus K 618, RIAS Chamber Choir-Radio SO Berlin-Creed
-Vesperes Solemnae, Bonney-The English Concert & Choir-Pinnock PI*


Monsalvat said:


> We now have the complete _Neue Mozart-Ausgabe_, published by Bärenreiter, as a scholarly-critical edition of the complete works of Mozart. I don't know how much this has affected performance but you raise an interesting point about our understanding of his music changing. It's become more fashionable recently (as it certainly has with Beethoven) to play Mozart with smaller orchestras and at least some awareness of historical practices; for example, Simon Rattle's recording of the 39th, 40th, and 41st symphonies with the Berlin Philharmonic, or Abbado's recordings of the late symphonies with Orchestra Mozart, and of course John Eliot Gardiner's recordings. I think I still prefer "big-band" Mozart, in general, and I wouldn't want to give up Szell, Böhm, Bruno Walter, Klemperer, or even Karajan. It's odd, because I absolutely prefer Bach on period instruments, but Mozart and Beethoven I like with modern instruments and ensembles.
> 
> I think that for me, to share what I think are the best works and best performances would be a very long task! But also, part of what I enjoy about comparing recordings is trying to see what the performers are aiming at. What are they focusing on? Everyone can bring something different to the table. This is especially true in the operas. It can get interesting in the piano concertos, which are sometimes conducted from the keyboard. We are fortunate that in his short time on Earth, Mozart left such a voluminous legacy, and that there are so many high-quality works included in that legacy in so many different genres as there are.


Thks for mentioning the Piano Concertos. They are indeed one of Mozart's major achievements , the more so because they are clearly linked to his operas.


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## larold (Jul 20, 2017)

Mozart is appreciated, not to worry. Composers as varied as Rossini, Wagner and Richard Strauss worshipped him.

"There is only one Mozart," Rossini wrote.

He is the master of light and shade. As Herbert Ruscoll wrote 1968, "The more intimate one becomes with Mozart's music the more one is truck with his extraordinary range and powers ... no composer had such a range of moods and expression. Joy, profound sorrow, pure musical pleasure and laughter ...

"You can listen to his music when the heroics of Beethoven become wearisome, when Tchaikovsky seems to pathetic, when Wagner becomes detestable, and even when the great Bach seems to be a 'celestial sewing machine' in Colette's phrase.

"Mozart never lets you down. He is the composer for all moods, all seasons."

It takes time to discover all this, of course.


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## Monsalvat (11 mo ago)

justekaia said:


> [...]Thks for mentioning the Piano Concertos. They are indeed one of Mozart's major achievements , the more so because they are clearly linked to his operas.


What a post! Excellent and detailed.

The piano concertos are really interesting because he wrote them so that he could play them. I explored two cycles late last year: Barenboim/Berlin (Teldec, 1986–1998) and Brendel/Marriner/Academy of St. Martin-in-the-Fields (Philips, 1970–1984) and it was a refreshing, enlightening experience. Brendel/Marriner is a great all-around set that I could listen to in any mood. Before that, my reference set was Géza Anda's on Deutsche Grammophon (1961–1969). I also enjoyed the incomplete cycle made by Rudolf Serkin and Claudio Abbado with the London Symphony Orchestra, which was more relaxed and magisterial than some of the other recordings (Deutsche Grammophon, 1981–1986). The last eight or ten concerti in particular are all masterworks. The formal structure is complicated, as Hepokoski and Darcy elucidate in their _Elements of Sonata Theory_. I need to hear Perahia, Ashkenazy, Uchida, and Barenboim/English Chamber Orchestra; I see you liked Perahia so I'll pull up some of his recordings. What an amazing project it must be to play these works.









(Opening of KV 488, courtesy of Wikipedia.)


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## Kjetil Heggelund (Jan 4, 2016)

Yes, we love Mozart!


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## Kreisler jr (Apr 21, 2021)

I have lived through two Mozart anniversaries, the first one (1991 and the buildup towards it) taking place when I was a teenager and fairly new to classical music and I never had the impression that Mozart was not sufficiently or adaequately appreciated. Especially for these anniversaries it was difficult not be drowned in Mozart's music. I am too young to clearly remember the Bach/Handel/Scarlatti anniversary 1985 and Beethoven 2020 was curtailed by Covid but neither this one nor Bach 2000 nor Handel/Haydn/Mendelssohn/... 2009 came anywhere near Mozart 1991 in my recollection. (For some reason I remember this more clearly than 2006.) And obviously, Mozart is not underappreciated when there is no anniversary either.


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## Hogwash (5 mo ago)

Great Mozart’s Ghost! It’s inconceivable that he’s under appreciated!! Viva Wolfgang!!!




justekaia said:


> It is my conviction that Mozart is one of the all time greats and that he is not appreciated as he should be


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## cybernaut (Feb 6, 2021)

Never heard of him.


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## Kjetil Heggelund (Jan 4, 2016)

I do not think Mozart is underrated in any way, but it is probably trendy to say you don't like him for whatever boinky reason...haha


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## justekaia (Jan 2, 2022)

Kjetil Heggelund said:


> I do not think Mozart is underrated in any way, but it is probably trendy to say you don't like him for whatever boinky reason...haha


*Kjetil i stated he is one of all the time greats*


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## Kjetil Heggelund (Jan 4, 2016)

justekaia said:


> *Kjetil i stated he is one of all the time greats*


I know, you might have misunderstood...To my surprise, I have heard that people actually despise Mozart and I call that "trendy", meaning they think they are clever or something...


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## Kjetil Heggelund (Jan 4, 2016)

Sorry, looks like I'm not so good at expressing my thoughts...Mozart is my #1 forever.


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## Ethereality (Apr 6, 2019)

"There is mozt art, and then there is Mozart." 
- Franklin Flabbergasted Fart (1900 - 2012)


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## pianozach (May 21, 2018)

justekaia said:


> It is my conviction that Mozart is one of the all time greats and that he is not appreciated as he should be.


That's a rather provocative opening statement.

*Mozart* is one of the most appreciated figures in Classical Music, for the reasons stated in both your OP, and the 2nd post in the thread:

The Operas (and their overtures)
The Symphonies
The Chamber music (especially the string quartets)
The Concertos (especially the piano concertos)
The piano works
The sacred music
Twinkle Twinkle Little Star


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## justekaia (Jan 2, 2022)

pianozach said:


> That's a rather provocative opening statement.
> 
> *Mozart* is one of the most appreciated figures in Classical Music, for the reasons stated in both your OP, and the 2nd post in the thread:
> 
> ...


I personally agree with your statement. I just want to make sure what the folks out there know what they are dealing with.


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## Mandryka (Feb 22, 2013)

Hagen quartet are doing a series of three concerts of quartets in London this month, I like very much what they did for DG and the rather different style they've adopted for Mozart subsequently.

What do people think of the solo keyboard music?

My most recent Mozart discovery has been the the first string quartet, K. 80/73f. It has a powerful ear worm, if you listen it will take you a long time to efface the memory.

I'm not a great one for orchestral music, so I won't comment. And though I have enjoyed the later operas on stage, I don't tend to listen to that sort of music much at home.


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## TwoFlutesOneTrumpet (Aug 31, 2011)

Leopold Mozart?


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## TwoFlutesOneTrumpet (Aug 31, 2011)

I used to love Mozart's music, especially when I first got into CM. Then I don't know what happened but in recent years I don't listen to him much. Whenever I try to, I get bored by what used to excite me. Maybe it's just a phase and I'll get my love for him music back.


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## Animal the Drummer (Nov 14, 2015)

Mandryka said:


> Hagen quartet are doing a series of three concerts of quartets in London this month, I like very much what they did for DG and the rather different style they've adopted for Mozart subsequently.
> 
> What do people think of the solo keyboard music?
> 
> ...


Mozart's my favourite composer but I used to think the piano music was less worthy of attention than most of his output. What changed that for me was being assigned some of it by my piano teacher, specifically the sonatas K331 and 332. I loved the music, K332 especially (it helped to tidy up my technique too), and came to see its subtleties more clearly than I ever could as a listener.


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## starthrower (Dec 11, 2010)

I would like to pick up a bargain box of the sacred choral works to explore this music. Can any of you Mozart enthusiasts recommend one? I see there are sets available on Brilliant Classics, Teldec, etc.


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## hammeredklavier (Feb 18, 2018)

starthrower said:


> I would like to pick up a bargain box of the sacred choral works to explore this music. Can any of you Mozart enthusiasts recommend one? I see there are sets available on Brilliant Classics, Teldec, etc.


The Harnoncourt HIP set is the only one I care for as far as those works are concerned (except for the works of the Vienna period; for example, I think only Colin Davis gets the tempo of K.341 right.)


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## Kreisler jr (Apr 21, 2021)

AFAIK there are basically two somewhat complete sacred choral collections, Harnoncourt (Teldec) and Neumann (Virgin or EMI or whatever this is now). Both are HIP and at least Neumann was at some stage bargain priced. Note that for both there also were partial boxes, a 4 disc set with Harnoncourt and a 5? with Neumann that are obviously not complete.
Not sure about the "complete Mozart edition" but I think they had a mix of Kegel, Marriner, Davis or maybe Leppard for the choral music.


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## starthrower (Dec 11, 2010)

hammeredklavier said:


> The Harnoncourt HIP set is the only one I care for as far as those works are concerned


Are you referring to the 13 disc set? I'm not familiar with Harnoncourt's discography.


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## hammeredklavier (Feb 18, 2018)

starthrower said:


> Are you referring to the 13 disc set? I'm not familiar with Harnoncourt's discography.


Yes.


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## Xenophiliu (Jan 2, 2022)

starthrower said:


> I would like to pick up a bargain box of the sacred choral works to explore this music. Can any of you Mozart enthusiasts recommend one? I see there are sets available on Brilliant Classics, Teldec, etc.


As someone who doesn't usually choose to go the period route, Volumes 19, 20, and 22 (20 discs total I think) of Philips Complete Mozart Edition is more to my particular tastes. Big name conductors and soloists, but in an older, grand Romantic style usually.


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## justekaia (Jan 2, 2022)

Animal the Drummer said:


> Mozart's my favourite composer but I used to think the piano music was less worthy of attention than most of his output. What changed that for me was being assigned some of it by my piano teacher, specifically the sonatas K331 and 332. I loved the music, K332 especially (it helped to tidy up my technique too), and came to see its subtleties more clearly than I ever could as a listener.


I think the piano sonatas are very uneven, but K 331 and 332 are the outstanding ones. Then there are little gems. I have listed a few which include the proto-Beethovenian Fantasia K 397. Other favourites are:
Fantasia K 475
Rondo K 511
Adagio K 540
You can find these and then some on the excellent cd by Zacharias. Piano works.


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## hammeredklavier (Feb 18, 2018)

justekaia said:


> I think the piano sonatas are very uneven, but K 331 and 332 are the outstanding ones. Then there are little gems. I have listed a few which include the proto-Beethovenian Fantasia K 397. Other favourites are:
> Fantasia K 475
> Rondo K 511
> Adagio K 540


+ K.497


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## cybernaut (Feb 6, 2021)

This is the best song he ever did. Still gets me on the dance floor.


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## Dirge (Apr 10, 2012)

W. A. MOZART: *Sinfonia concertante in E-flat major, K. 364* (1779)
_for violin, viola, and orchestra of two oboes, two horns, and strings (w/divided violas)_
:: Zimmermann, Tamestit, Szulc/Kammerorchester des BRSO [Hänssler ’15] 

This production has all the ingredients to yield _the _Sinfonia concertante recording of my mind’s ear: top-flight classically-inclined soloists who are longtime chamber music partners, a chamber orchestra drawn from one of the most well-rounded and versatile orchestras around, and a conductor who is as imaginative and challenging as he is responsive and sympathetic—Szulc is also Concertmaster of the BRSO.

Zimmermann and Tamestit constantly challenge and bring out the best in each other, and their interplay is hands down the most compelling I’ve heard in this work. Szulc and orchestra follow suit and provide a highly engaged contribution, sympathetic or challenging in nature, as appropriate. The playing all round is as keen and proficient as it could be, with great rapport and teamwork on display at all times, and there’s an engaging sense of give and take, of challenge and reply, throughout the proceedings. Phrasing couldn’t be more to my liking, and the unflagging focus & concentration of the playing allows for the sustained inner tension that holds everything so coherently/cohesively together and for the hushed intensity of the slow/quiet sections.

Unfortunately, a number of minor stylistic/interpretive and recording issues conspire to annoy me: there’s a vibrato mismatch between Zimmermann (moderate vibrato) and Tamestit (little vibrato) and the strings (virtually no vibrato); the soloists are a bit too closely mic’d and prominently balanced; the recording/venue doesn’t allow the strings, especially the lower strings, to fully resound/bloom; the frequency balance is tilted up (bass-light/treble-heavy); and the overall presentation is too brightly lit. Each of these problems on its own is small, but together they conspire to, among other things, make the strings seem hurting for fullness, weight, impact, and presence … and unable to ideally support/complement/counterbalance the two soloists and the winds. Even so, I like the performance per se so much that I tolerate, however grudgingly, these problems. [These problems seem to bother me far more than they do other listeners, many of whom don’t seem to perceive them as problems at all.]


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## Kreisler jr (Apr 21, 2021)

cybernaut said:


> This is the best song he ever did. Still gets me on the dance floor.


This dates you fairly precisely; I hope you have aged better than that video/music... 😄


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## cybernaut (Feb 6, 2021)

Kreisler jr said:


> This dates you fairly precisely; I hope you have aged better than that video/music... 😄


Nonsense. That song ages like a fine wine!


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## Wilhelm Theophilus (Aug 8, 2020)

The only time Mozart is underrated is when Beethoven is said to be his superior.


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## Enthusiast (Mar 5, 2016)

A list of great Mozart works needs to include at least 6 operas, some 20+ symphonies, some 20+ concertos, numerous string quartets, a lot of piano sonatas and so many other works ... . It is possible to divide the list into greatest and great. I'm not sure any composer equals him. I'm also inclined to think that those who don't recognise his greatness may be hampered in truly relating to classical music.


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## Neo Romanza (May 7, 2013)

Enthusiast said:


> I'm also inclined to think that those who don't recognise his greatness may be hampered in truly relating to classical music.


I disagree. One can dislike any composer, but this doesn't mean they can't relate to classical music. I love Beethoven, but have no time for Mozart or Bach for that matter. I love Haydn, too.


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## Enthusiast (Mar 5, 2016)

Neo Romanza said:


> I disagree. One can dislike any composer, but this doesn't mean they can't relate to classical music. I love Beethoven, but have no time for Mozart or Bach for that matter. I love Haydn, too.


Fair enough and I imply no criticism - but I almost feel sad that you are missing so much of the best of our heritage.


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## Philidor (11 mo ago)

justekaia said:


> It is my conviction that Mozart is one of the all time greats and that he is not appreciated as he should be.


Interesting. Could you please explain who the subject in "not as appreciated" is? Who is it, who doesn't appreciate enough?

And: How should Mozart be appreciated? I can't think of any CM enthusiast who doesn't rank Mozart among the top 5 composers of all times. So what more would you expect?


justekaia said:


> He has contributed a lot of novelties to classical musical.


Oh ... but what exactly? String quartets? Haydn did, too. Operas? What is the difference between Paisiello's "Barbiere di Siviglia" and Mozart's "Figaro"? Piano Concertos? There were many.

What is really new what Mozart did? I would propose just the opposite: The development of european music wouldn't have been different if Mozart had not lived. (Except the obvious fact that his works wouldn't have existed then and wouldn't have had an influence such as KV 464 -> Beethoven's op. 18 Nr. 5. Nor would Reger's Mozart Variations exist, of course.)

In order to find Mozart's innovations, one has to dig quite deeply, I think. It is rather in details and in terms of refinement. Difficult to grasp. But maybe I am wrong?


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## Merl (Jul 28, 2016)

Mozart? Never heard of him. Can't be as much of a genius as George Ezra....


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## hammeredklavier (Feb 18, 2018)

Philidor said:


> The development of european music wouldn't have been different if Mozart had not lived. (Except the obvious fact that his works wouldn't have existed then and wouldn't have had an influence such as KV 464 -> Beethoven's op. 18 Nr. 5. Nor would Reger's Mozart Variations exist, of course.)
> In order to find Mozart's innovations, one has to dig quite deeply, I think. It is rather in details and in terms of refinement. Difficult to grasp. But maybe I am wrong?


There's this, but it could be argued that this was all because Wagner's teacher, Weinlig, was a Mozart fan and used Mozart's compositions as teaching material for Wagner, (inevitably affecting Wagner's musical thinking on the long run).




(ie. just cause something or someone was influential, it doesn't mean it or he was objectively beneficial. Negative Influences)


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## pianozach (May 21, 2018)

Animal the Drummer said:


> Mozart's my favourite composer but I used to think the piano music was less worthy of attention than most of his output. What changed that for me was being assigned some of it by my piano teacher, specifically the sonatas K331 and 332. I loved the music, K332 especially (it helped to tidy up my technique too), and came to see its subtleties more clearly than I ever could as a listener.


I'm a real fan of the *Piano Sonata in F major, K. 332*. I've played it for decades, included it in a couple of concerts.


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## Kreisler jr (Apr 21, 2021)

There is often "subtle" (i.e. not as overt as piano+winds quintet), technical influence from quartets etc. because Beethoven (and others) were very fond of Mozart. One of Mozart's greatest innovations or perfections, the piano concerto, became somewhat marginal pretty soon (although a few of his concerti were played in the 19th century), probably mostly because of the fast developments in piano technology that made a different level of sound and virtuosity possible for the piano and accordingly led to rather different writing for the instrument.

Overall, I think that among the most influential Mozart works in the (early) 19th century were Don Giovanni and Die Zauberflöte. The former because it went sufficiently far beyond the typical opera buffa with its "demonic" aspect and Don Juan was also seen as an archetypical "Byronic hero" by some romantics. The other one because it was the best German (language but also style) opera to date, despite some silly comedy (which was perceived differently at the time, there are hardly any "deeper" poets than Goethe and he was so fond of it that he sketched a sequel). I doubt Fidelio and Weber's operas (who was a distant relative of Constanze) would have been possible without Zauberflöte. There were also the German comic operas by Lortzing and Nicolai that used to be popular in German speaking countries until the 1970s and that are basically slightly updated (and less good, often a bit more folksy, a cross between the folksy elements of Weber and the Mozartean comedy of manners) Mozart in the 1840s.


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## brahmsderonincourt (1 mo ago)

"Weber's operas (who was a distant relative of Constanze)"

Carl Maria von Weber was first cousin to Mozart's wife.

That said, I've never heard much in Weber's music that's derivative of Mozart. He is from a later generation, and his expression and lyrical gifts are more suggestive of early romantics like Schubert and Mendelssohn.


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## Kreisler jr (Apr 21, 2021)

Not derivative. Neither is Fidelio obviously derivative of Mozart. But like Zauberflöte, Freischütz and Fidelio are technically Singspiele, i.e. spoken dialogue between the musical numbers and they have the elaborate finales with ensemble and choral parts like Zauberflöte. Still, I think the main point is more general, namely to have a great German opera to build upon at all.


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## Philidor (11 mo ago)

hammeredklavier said:


> There's this, but it could be argued that this was all because Wagner's teacher, Weinlig, was a Mozart fan and used Mozart's compositions as teaching material for Wagner, (inevitably affecting Wagner's musical thinking on the long run).


Can you show such affection in, say, Tannhäuser or Tristan?


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## hammeredklavier (Feb 18, 2018)

Kreisler jr said:


> The other one because it was the best German (language but also style) opera to date, despite some silly comedy (which was perceived differently at the time, there are hardly any "deeper" poets than Goethe and he was so fond of it that he sketched a sequel). I doubt Fidelio and Weber's operas (who was a distant relative of Constanze) would have been possible without Zauberflöte. There were also the German comic operas by Lortzing and Nicolai that used to be popular in German speaking countries until the 1970s and that are basically slightly updated (and less good, often a bit more folksy, a cross between the folksy elements of Weber and the Mozartean comedy of manners) Mozart in the 1840s.


Die Zauberflöte may be the most eclectic (with elements such as dazzling coloratura, hymm, chorale prelude, etc) at the time, but doesn't quite explore the pure "German lied style", and dramatic style of modulations to distantly-related tonal areas using borrowed chords (which characterizes much of the music of Schubert, Schumann, Mendelssohn, etc), and uninterrupted continuity between accompagnatos and numbers (a distant precursor to Wagner) as Reichardt does in his setting of Goethe in Berlin (Erwin&Elmire). Mendelssohn is said to have considered him greater than Schubert in lieder.



brahmsderonincourt said:


> "Weber's operas (who was a distant relative of Constanze)"
> Carl Maria von Weber was first cousin to Mozart's wife.
> That said, I've never heard much in Weber's music that's derivative of Mozart. He is from a later generation, and his expression and lyrical gifts are more suggestive of early romantics like Schubert and Mendelssohn.


Weber's chromatic language might have more in common with his teacher Haydn, who also exhibited the lied style in singspiele especially in his late period; for instance, Die Ahrenleserin, which is said to exhibit greater boldness of chromatic language than his earlier works, hasn't been published to this day. Weber, who studied with Haydn everytime he and his family returned to Salzburg, does seem to quote Haydn (the gloria of Missa st. Ruperti) in Der Freischütz.


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