Ever since my first teacher told me the reason he loved Ostman's Mozarts was that Drottningholm was the only extant 18th century opera house in Europe, and one way of looking at Ostman's choice of sticking with the original instruments wasn't Gardiner's bid for "authenticity" (I agree with Boulez, who compared music history to the childhood "telephone" game where you repeat the phrase you've just heard from the person to your left to the person on your right: when the circle is complete the original phrase is completely transformed* -- we don't really have any accurate sense of what Josquin, say, actually sounded like) but the desire to conform the size of the violins to their surrounding, i.e. the violins of WM's day were much smaller. The bows were too short to produce the long, unbroken notes we now hear in Wagner and Bruckner. Hence the pervasive _tremolandos_ in Mozart and Haydn: they had no other way of sustaining a note. Ever since then I can't keep away from Ostman.
Lar M Mozart was the gift of all time (along w Bach?) to us mere mortals. Nothing but unthinkable miracles flowed from his imagination onto the sheet music.
Still though we have to remember that as much as he had developed his facility he worked extremely hard; there is sometimes this sense we have that Beethoven struggled mightily while Mozart had a seamless conduit to the muses. It's partly from the sketchbooks, and partly from cultural representations like _Amadeus_ that celebrate WM's fluency. In his letters, Mozart often says how difficult the work was, and there's quite a bit of stuff in his composition books that show a Beethovenian engagement with all the possibilities of a given set of material, and he goes through the manifold choices with a lot of deliberation... Although having said that I don't think there's any composer -- maybe Stravinsky is the only exception -- that brings us into the absolute thrill of inspiration: it's the moment the match catches fire.
Why the rush, it would appear the singers had something else to do that night, this will never be a preferred performance I am sorry to say, though it does contain some delightful singing.
Ever since my first teacher told me the reason he loved Ostman's Mozarts was that Drottningholm was the only extant 18th century opera house in Europe, and one way of looking at Ostman's choice of sticking with the original instruments wasn't Gardiner's bid for "authenticity" (I agree with Boulez, who compared music history to the childhood "telephone" game where you repeat the phrase you've just heard from the person to your left to the person on your right: when the circle is complete the original phrase is completely transformed* -- we don't really have any accurate sense of what Josquin, say, actually sounded like) but the desire to conform the size of the violins to their surrounding, i.e. the violins of WM's day were much smaller. The bows were too short to produce the long, unbroken notes we now hear in Wagner and Bruckner. Hence the pervasive _tremolandos_ in Mozart and Haydn: they had no other way of sustaining a note. Ever since then I can't keep away from Ostman.
Ithink östman is one of the great conductors of this century
Adore Rachel Yakar! She never takes on anything she cannot more than handle. Many thanks for this fine version!
Best opera ever written
Geert Van Laer That is an arguable fact, indeed. :)
Definitely the most thought-provoking of the 3 DaPonte operas.
Not really, Mozart have best operas
I would say Don Giovanni
1:15:32 Brazilians 90s samba or pagode influenced by this part
Een fantastische uitvoering
great!!!! thanks!!!
Genial Mozart
Thank You, fantastic!
1:51:42 HEY PEETA
This is the 3rd opera of Mozart's that I've written a Family Guy related comment on
Excellent choice in uploading the Ostman operas
thesir27 A shame about the recits being omitted, tho'
he is the best mozart condoctor of the 20thcentury
I think it took him only less than 2 weeks to write the whole opera and 60 minutes only for the overture !
Lar M Mozart was the gift of all time (along w Bach?) to us mere mortals. Nothing but unthinkable miracles flowed from his imagination onto the sheet music.
Still though we have to remember that as much as he had developed his facility he worked extremely hard; there is sometimes this sense we have that Beethoven struggled mightily while Mozart had a seamless conduit to the muses. It's partly from the sketchbooks, and partly from cultural representations like _Amadeus_ that celebrate WM's fluency. In his letters, Mozart often says how difficult the work was, and there's quite a bit of stuff in his composition books that show a Beethovenian engagement with all the possibilities of a given set of material, and he goes through the manifold choices with a lot of deliberation... Although having said that I don't think there's any composer -- maybe Stravinsky is the only exception -- that brings us into the absolute thrill of inspiration: it's the moment the match catches fire.
I love it for the most part but one of the sopranos keeps screaming.
7:35
Fantastic! Never slept better.
8:46 8:54
1:02:25
1:30:00
11:21
37:25
Why the rush, it would appear the singers had something else to do that night, this will never be a preferred performance I am sorry to say, though it does contain some delightful singing.
I feel the same.
Very fast....
codella overtura esser fin troppo velose, dico
1:04:30
31:48
1:30:00
11:21
40:35
1:15:20
@@Tizohip oh
1:59:06
1:02:25 very good
@@Tizohip