Symphony Mozart: Symphony No. Mozart: Symphony No. Molto Allegro 2. Andante 3. Menuetto 4. Allegro Assai Symphony No. Allegro Vivace 6. Andante Cantabile 7. Menuetto 8. Exact Audio Copy V1. August EAC extraction logfile from Symphony No. 28 In C Major No. Wolfgang Amadeus Mozart Symphonies No 40 and 41 Sinfonia Varosavia conduced by Sir Yehudi Menuhin "Many notable Mozart conductors have become broader in their tempos and more detail-obsessed as they aged.
On the other side of the equation are equally great conductors such as Szell, Reiner, Casals, and Toscanini, whose vision intensified instead of mellowing. It is to the latter group that Menuhin belongs, and these superb performances call to mind Toscanini at his best, in the tensile strength of the melodic line, subtle rubato, and K. 200 - Mozart* clear articulation. Menuhin, in his ineffably modest manner, has been a consistently successful conductor over the last twenty-five years.
One remembers highly satisfying recordings of Handel's Water Music, the Bach violin concertos, suites, and Brandenburgs, with his own Festival Orchestra from the 60s, and recent discs of quality devoted to Elgar and Capella Istropolitana Williams.
His Mozart conducting is very individual and entirely convincing. He chooses swift tempos for all the fast movements, but never exceeds the limit beyond which complete clarity can be achieved. And throughout are imperceptibly Program Me - Hadi Burpee - Program Me EP adjustments of tempo and phrase: the oft-discussed re-transition to the recap in the opening movement of K. Menuhin is traditional in confining repeats to those universally observed.
In neither of the slow movements, or the finale of K. Perhaps the most Symphony No. 28 In C Major feature of the playing is the etched clarity of Keep Your Worries (Street Version) - Gurus Jazzmatazz* - Keep Your Worries / Lift Your Fist of the smallest notes. Like Toscanini, Menuhin insists on our perceiving the tiniest pair of thirty-second notes as clearly as the long notes of the principal themes.
You will never hear the andante of K. I would not have guessed from the records they made several years K.
200 - Mozart* under Maksym-iuk that they were capable of such astounding ensemble or such cultivated purity of tone. At higher dynamics, this fault is far less annoying. It would also have been nice to hear a firmer bass line and more wind color, in view of the excellence K.
200 - Mozart* the playing, but neither element can actually be said to be slighted. Compared to the sound we are willing to accept on vintage orchestral recordings, it is acceptably solid. Put as simply as possible, this is one of the very finest items to be sent my way in my twelve years of reporting for this journal. It goes to the top of the list of modern recordings of these immortal works.
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