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42/35a) and 1768 Singspiel Bastien und Bastienne (K.

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42/35a) and 1768 Singspiel Bastien und Bastienne (K. 50), the featured pieces on a subsequent Mozartists recording, vindicate the wisdom of Leopold’s judgment. In his correspondence, Mozart often discussed the influence of fellow composers whose music he admired, but the misconception that the creator of Così fan tutte and Die Zauberflöte was the product solely of his own genius regrettably persists. Exploring music likely to have captivated his inquisitive young ears in 1764 and 1765, Mozart in London melodiously provides Mozart’s musical growth with historically-appropriate context. Had encounters with The Mozartists and Ian Page transpired during the Mozarts’ 457 days in England, the family might well have remained in London indefinitely.

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A lingering problem in performances of music dating from the first two decades of Mozart’s life is the tendency to approach the music from the perspective of the works of his final fifteen years, unnecessarily and in many cases detrimentally imposing an inflated grandiosity on the music. No one now questions the legitimacy of Mozart’s genius: performing the works of his youth as though were written with the same inventiveness that shaped later pieces enlarges the distance between Mozart and the listener. This is a mistake never made by The Mozartists, whose goal to recreate the sound world in which Mozart was immersed in London in the 1760s is achieved with that most vital of historically-informed virtues—common sense. 1 in E-Flat Major, K. 16: I.

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Molto allegro, The Mozartists, with Ian Page conducting, from Mozart in London In terms of aural balances, clarity and avoidance of distracting noises off, these discs, recorded during concerts in London’s Guildhall School of Music and Drama, offer the listener an ideal sonic environment in which to appraise the novelties of this music. This is of course inconsequential if the quality of the performances is inferior to that of the recorded sound. Page ensures that the musicianship on Mozart in London is pristine, conducting with his customary stylistic flexibility and unflagging concentration. The musical dialects spoken by these pieces range from late Baroque to fledgling Romantic, and Page communicates effectively in each of them. The Mozartists play with indefatigable elegance that never stands in the way of evincing the music’s inherent passions. 50), the featured pieces on a subsequent Mozartists recording, vindicate the wisdom of Leopold’s judgment. In his correspondence, Mozart often discussed the influence of fellow composers whose music he admired, but the misconception that the creator of Così fan tutte and Die Zauberflöte was the product solely of his own genius regrettably persists. Exploring music likely to have captivated his inquisitive young ears in 1764 and 1765, Mozart in London melodiously provides Mozart’s musical growth with historically-appropriate context. Had encounters with The Mozartists and Ian Page transpired during the Mozarts’ 457 days in England, the family might well have remained in London indefinitely. A lingering problem in performances of music dating from the first two decades of Mozart’s life is the tendency to approach the music from the perspective of the works of his final fifteen years, unnecessarily and in many cases detrimentally imposing an inflated grandiosity on the music.

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No one now questions the legitimacy of Mozart’s genius: performing the works of his youth as though were written with the same inventiveness that shaped later pieces enlarges the distance between Mozart and the listener. This is a mistake never made by The Mozartists, whose goal to recreate the sound world in which Mozart was immersed in London in the 1760s is achieved with that most vital of historically-informed virtues—common sense. 1 in E-Flat Major, K.

16: I. Molto allegro, The Mozartists, with Ian Page conducting, from Mozart in London In terms of aural balances, clarity and avoidance of distracting noises off, these discs, recorded during concerts in London’s Guildhall School of Music and Drama, offer the listener an ideal sonic environment in which to appraise the novelties of this music. This is of course inconsequential if the quality of the performances is inferior to that of the recorded sound. Page ensures that the musicianship on Mozart in London is pristine, conducting with his customary stylistic flexibility and unflagging concentration. The musical dialects spoken by these pieces range from late Baroque to fledgling Romantic, and Page communicates effectively in each of them. The Mozartists play with indefatigable elegance that never stands in the way of evincing the music’s inherent passions. The instrumentalists play with an incontestable sense of responsibility for the successes of both Mozart in London and their performances of Grabmusik and Bastien und Bastienne. Their endeavors engender discs for which any musician would be proud to claim responsibility. The composer’s shade hopefully will not be too incensed by the assertion that the selections from Mozart’s own early compositions are the least interesting pieces included on Mozart in London, though only because they are not new to recordings. Performances of these works are not even a fraction as frequent as are those of his later music, but they are far from unknown. Rarely are they played as idiomatically as in these performances, however. Composed in Chelsea during August or September 1764, whilst his father convalesced from a minor malady, the Symphony No. 1 in E♭ major (K. 16) is a piece with ebullience that is little encumbered by musical reflections of characteristic English clouds and fogs. Page insightfully manages the tempo transitions among the Molto allegro, Andante and Presto movements, his pacing brisk but by no means rushed. Mozart in London, the new album by The Mozartists and conductor Ian Page is the Recording of the Month in the July 2018 issue of Gramophone. The album is a wonderful exploration of the musical life of London during Mozart’s visit as an eight-year-old. In this interview, Ian Page talks about the music that the Mozart family might have heard in the English capital, with Gramophone‘s Editor-in-Chief James Jolly. The Allegro, Andante, and Presto chapters in the narrative of Symphony No. 4 in D major (K. 19) also receive nuanced but persuasively straightforward readings. The composer’s manuscript misplaced and feared lost for two centuries, the Symphony in F major (K.

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Arnold also included a number from Italian composer Egidio Duni’s 1758 opera La fille mal gardée in The Maid of the Mill, given in English as “To speak my mind of womankind,” and Murray’s brilliantly mercurial singing accentuates the music’s tremendous charm. Displaying the well-honed versatility of her own artistry, Bottone tenders a mellifluous tribute to the craftsmanship of the forgotten William Bates with an evocatively unaffected performance of ‘In this I fear my latest breath” from Pharnaces. The names of Giovanni Battista Pescetti and George Rush are now little more than footnotes in the chronicles of music in the Eighteenth Century, but their work was sufficiently regarded in the 1760s for it to be likely that Mozart heard some of their music during his time in Britain. Voicing “Caro mio bene, addio,” an aria by Pescetti included by the production’s primo uomo in a pastiche version of Metastasio’s Ezio staged at the King’s Theatre in the Haymarket in November 1764, with appealing tone and earnest feeling, soprano Martene Grimson stimulates curiosity about what other gems are hidden among this composer’s scores. 19a) was Mozart’s inaugural venture in symphonic form, and it is here played with an apt air of discovery. Page and The Mozartists energetically limn the youthful zest of the Allegro assai and Presto movements, and the delicacy with which they articulate the melodic lines of the Andante exhibits what an ear for beauty that Mozart already possessed at the age of eight. A setting of words from Pietro Metastasio’s much-used libretto Ezio, “Va, dal furor portata” (K. 21) was Mozart’s first concert aria and was likely never performed during the composer’s lifetime.

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The instrumentalists play with an incontestable sense of responsibility for the successes of both Mozart in London and their performances of Grabmusik and Bastien und Bastienne. Their endeavors engender discs for which any musician would be proud to claim responsibility. The composer’s shade hopefully will not be too incensed by the assertion that the selections from Mozart’s own early compositions are the least interesting pieces included on Mozart in London, though only because they are not new to recordings. Performances of these works are not even a fraction as frequent as are those of his later music, but they are far from unknown. Rarely are they played as idiomatically as in these performances, however.

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Composed in Chelsea during August or September 1764, whilst his father convalesced from a minor malady, the Symphony No. 1 in E♭ major (K. 16) is a piece with ebullience that is little encumbered by musical reflections of characteristic English clouds and fogs. Page insightfully manages the tempo transitions among the Molto allegro, Andante and Presto movements, his pacing brisk but by no means rushed. Mozart in London, the new album by The Mozartists and conductor Ian Page is the Recording of the Month in the July 2018 issue of Gramophone.

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The album is a wonderful exploration of the musical life of London during Mozart’s visit as an eight-year-old. In this interview, Ian Page talks about the music that the Mozart family might have heard in the English capital, with Gramophone‘s Editor-in-Chief James Jolly. The Allegro, Andante, and Presto chapters in the narrative of Symphony No. 4 in D major (K. 19) also receive nuanced but persuasively straightforward readings. The performance by tenor Ben Johnson on Mozart in London is enjoyable despite fleeting insecurity in passagework. From the inception of his composition of vocal music, Mozart wielded a rare affinity for identifying the innate musicality of words, whether in German, Italian, or Latin.

Johnson’s clear order levitra without prescription diction enables the listener to fully appreciate the cleverness of Mozart’s reaction to Metastasio’s text, and his burnished but light-textured voice perfectly suits the music. Karl Friedrich Abel was among the German-speaking composers who followed the Hannoverian dynasty to London, led by Händel’s example.

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Rediscovery of his music has disclosed that he was a pioneering symphonist who deserves to be recognized in the company of the innovative Haydn brothers. In this performance by Page and The Mozartists, Abel’s Symphony in E♭ major (Op.

6) is proved to be worthy of inclusion not just in this program but also in the standard orchestral repertoire. The vivacity of the opening Allegro movement crackles in the strings, and the genteel part writing with which the composer wove the Andante is delivered with focus on the music’s aural tapestry. As in the concluding movements of Mozart’s symphonies, Page sets a tempo for Abel’s Presto that is utterly right for the music.

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The composer’s manuscript misplaced and feared lost for two centuries, the Symphony in F major (K. 19a) was Mozart’s inaugural venture in symphonic form, and it is here played with an apt air of discovery. Page and The Mozartists energetically limn the youthful zest of the Allegro assai and Presto movements, and the delicacy with which they articulate the melodic lines of the Andante exhibits what an ear for beauty that Mozart already possessed at the age of eight. A setting of words from Pietro Metastasio’s much-used libretto Ezio, “Va, dal furor portata” (K. 21) was Mozart’s first concert aria and was likely never performed during the composer’s lifetime.

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The performance by tenor Ben Johnson on Mozart in London is enjoyable despite fleeting insecurity in passagework. From the inception of his composition of vocal music, Mozart wielded a rare affinity for identifying the innate musicality of words, whether in German, Italian, or Latin. Johnson’s clear order levitra without prescription diction enables the listener to fully appreciate the cleverness of Mozart’s reaction to Metastasio’s text, and his burnished but light-textured voice perfectly suits the music. Karl Friedrich Abel was among the German-speaking composers who followed the Hannoverian dynasty to London, led by Händel’s example. Rediscovery of his music has disclosed that he was a pioneering symphonist who deserves to be recognized in the company of the innovative Haydn brothers.

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In this performance by Page and The Mozartists, Abel’s Symphony in E♭ major (Op. 6) is proved to be worthy of inclusion not just in this program but also in the standard orchestral repertoire. The vivacity of the opening Allegro movement crackles in the strings, and the genteel part writing with which the composer wove the Andante is delivered with focus on the music’s aural tapestry. As in the concluding movements of Mozart’s symphonies, Page sets a tempo for Abel’s Presto that is utterly right for the music. Now principally remembered for the rousing “Rule, Britannia” from his Masque of Alfred, Thomas Arne was one of Eighteenth-Century Britain’s most gifted native sons. Now principally remembered for the rousing “Rule, Britannia” from his Masque of Alfred, Thomas Arne was one of Eighteenth-Century Britain’s most gifted native sons. A master of many of the musical forms in vogue during his career, he garnered considerable praise with his penchant for writing stirring works for the stage with texts in English—an aspect of his artistry that, surveyed by an ensemble of expert musicians, enlivens this visit to London as Mozart knew it.

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A master of many of the musical forms in vogue during his career, he garnered considerable praise with his penchant for writing stirring works for the stage with texts in English—an aspect of his artistry that, surveyed by an ensemble of expert musicians, enlivens this visit to London as Mozart knew it. Sampling Arne’s oratorio Judith, soprano Ana Maria Labin sings a pair of arias that confirm their composer’s work to have merited Mozart’s admiration. First, she phrases the enchanting “Sleep, gentle Cherub! Sleep descend,” a piece that would not sound out of place in Händel’s Orlando, with superb breath control, heightening the emotional impact of the words and the auditory luster of her evenly-produced tones. The wrenching “O torment great, too great to bear” renders Arne’s Israelite woman a cousin of Händel’s Theodora, and Labin reanimates this finely-crafted music with stylish but ingratiatingly full-bodied vocalism.

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During his time in England, Mozart studied singing under the tutelage of the noted castrato Giusto Fernando Tenducci, who created the rôle of Arbaces in Artaxerxes, the only one of Arne’s operas to have seized a foothold in the Twentieth and Twenty-First Centuries, aided in no small part by the initiative of Classical Opera, Ian Page and Signum Classics. For Mozart in London, mezzo-soprano Helen Sherman stands in for Tenducci as Arbaces, singing two of the character’s arias with technical assurance and emotional honesty that teach the listener about what Mozart likely learned in London two-and-a-half centuries ago. Sherman’s account of “Amid a thousand racking woes” exhilarates, the singer’s command of the requisite musical idiom allied with perceptive use of the words. No less rousing is her singing of the very different but equally engrossing “O too lovely, too unkind.” In both arias, her voice gleams. Composers and fellow singers could learn much from Sherman’s singing of this music.

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‘O Dolly, I part,’ from The Guardian Outwitted, as recorded for Mozart in London, featuring tenor Robert Murray and soprano Rebecca Bottone, with the Mozartists conducted by Ian Page As performed by soprano Rebecca Bottone and tenor Robert Murray, the most delightful of Arne’s pieces on Mozart in London is the duet “O Dolly, I part” from The Guardian Outwitted. As they disclose in their individual assignments, they are exemplary exponents of this repertoire: combining their voices and their histrionic skills, they bring Dolly and her swain to life and make the centuries that divide today’s listeners from them disappear. Bottone’s upper register strikes like lightning, electrifying her exchange with Murray. She goes on to sing “Hist, hist! I hear my mother call,” one of the numbers that Samuel Arnold composed himself for his pastiche The Maid of the Mill, with disarming simplicity. Sampling Arne’s oratorio Judith, soprano Ana Maria Labin sings a pair of arias that confirm their composer’s work to have merited Mozart’s admiration. First, she phrases the enchanting “Sleep, gentle Cherub! Sleep descend,” a piece that would not sound out of place in Händel’s Orlando, with superb breath control, heightening the emotional impact of the words and the auditory luster of her evenly-produced tones. The wrenching “O torment great, too great to bear” renders Arne’s Israelite woman a cousin of Händel’s Theodora, and Labin reanimates this finely-crafted music with stylish but ingratiatingly full-bodied vocalism. During his time in England, Mozart studied singing under the tutelage of the noted castrato Giusto Fernando Tenducci, who created the rôle of Arbaces in Artaxerxes, the only one of Arne’s operas to have seized a foothold in the Twentieth and Twenty-First Centuries, aided in no small part by the initiative of Classical Opera, Ian Page and Signum Classics. For Mozart in London, mezzo-soprano Helen Sherman stands in for Tenducci as Arbaces, singing two of the character’s arias with technical assurance and emotional honesty that teach the listener about what Mozart likely learned in London two-and-a-half centuries ago. Sherman’s account of “Amid a thousand racking woes” exhilarates, the singer’s command of the requisite musical idiom allied with perceptive use of the words. No less rousing is her singing of the very different but equally engrossing “O too lovely, too unkind.” In both arias, her voice gleams. Composers and fellow singers could learn much from Sherman’s singing of this music. ‘O Dolly, I part,’ from The Guardian Outwitted, as recorded for Mozart in London, featuring tenor Robert Murray and soprano Rebecca Bottone, with the Mozartists conducted by Ian Page As performed by soprano Rebecca Bottone and tenor Robert Murray, the most delightful of Arne’s pieces on Mozart in London is the duet “O Dolly, I part” from The Guardian Outwitted. As they disclose in their individual assignments, they are exemplary exponents of this repertoire: combining their voices and their histrionic skills, they bring Dolly and her swain to life and make the centuries that divide today’s listeners from them disappear. Bottone’s upper register strikes like lightning, electrifying her exchange with Murray. She goes on to sing “Hist, hist! I hear my mother call,” one of the numbers that Samuel Arnold composed himself for his pastiche The Maid of the Mill, with disarming simplicity. Arnold also included a number from Italian composer Egidio Duni’s 1758 opera La fille mal gardée in The Maid of the Mill, given in English as “To speak my mind of womankind,” and Murray’s brilliantly mercurial singing accentuates the music’s tremendous charm. Displaying the well-honed versatility of her own artistry, Bottone tenders a mellifluous tribute to the craftsmanship of the forgotten William Bates with an evocatively unaffected performance of ‘In this I fear my latest breath” from Pharnaces.

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The names of Giovanni Battista Pescetti and George Rush are now little more than footnotes in the chronicles of music in the Eighteenth Century, but their work was sufficiently regarded in the 1760s for it to be likely that Mozart heard some of their music during his time in Britain.

Voicing “Caro mio bene, addio,” an aria by Pescetti included by the production’s primo uomo in a pastiche version of Metastasio’s Ezio staged at the King’s Theatre in the Haymarket in November 1764, with appealing tone and earnest feeling, soprano Martene Grimson stimulates curiosity about what other gems are hidden among this composer’s scores.