The Andante, warmly coloured by the two bassoons, moves at a gentle walking pace, yet never drags; the Minuet is strong and purposeful, with most distinguished wind playing in the Trio. At the centre is Hilde Gueden, whose Susanna has echoes of operetta, although she remains a true Mozartian stylist. Mark Pullinger (April 2017). Duncan Druce (October 2001). The extremes of monumentality and meditativeness in the Requiem are represented perhaps by Bernstein and Herreweghe respectively; Butt steers a course equidistant between the two without compromising the work in its many moments of austerity or repose. Call me a killjoy, but my pulse rate rarely quickens at the prospect of Mozart’s pre-pubescent music. 15, No. 40 In the second installment in our "Must-Have Mozart" series, musical scholar Nicholas Kenyon talks about his favorite recording of Mozart's Symphony No. And pauses are decorated with lead-ins. Symphony No. Live recording from the Meyerson Symphony Center Jan. 8 – 10, 2021. Leonard Bernstein's relationship with the Vienna Philharmonic was born of equal parts genuine affection and shrewd economic calculation. 35, 39 – 41. The Bohm (DG), in no way authentic, remains the work of a great Mozartian, and the Pritchard (EMI) is a historic document, recalling the early days of rediscovery in this field. He shows a sure control of the ebb and flow of tension in the two long act finales. These performances are radiant: if you buy only one Mozart CD this anniversary year, let it be this one. Listen to her sing Mozart's Laudate Dominum" on YouTube. It tightens harmonic tension and supports rather than accompanies treble lines. On this occasion both are very positive ladies. Even Despina – who I usually find an irritant – is irresistible here, a saucy minx determined to liberate Così’s sisters. The 50 greatest Mozart recordings (2019 update) Gramophone Wednesday, May 15, 2019 50 of the finest Mozart recordings in history, plus extracts from the original Gramophone reviews, a playlist, and links to the albums on Apple Music. So far we've covered music for piano, voice, and strings. I shall be surprised to hear a more satisfying Mozart opera recording any time soon. Listen to Mozart: Symphony No.25 in G minor, K.183 - 1. The Hungarian coloratura Erika Miklósa has been making a speciality of Queen of Night over the past few years and shows just why in a technically secure and fiery account of her two arias. The choir are well drilled and the two female soloists are matched as well as any on disc (see my Collection on the work, 6/13). He is, of course, closely associated with the tenor roles in Mozart's operas, and he must have sung as a soloist in the Requiem on countless occasions (he recorded it for Erato with Michel Corboz on STU70943, 6/67), but although he has been active as a conductor since 1970 he has rarely featured in this capacity on records issued in this country. The first-movement tempo is on the leisurely side, giving him plenty of opportunity for refined and subtle moulding of the lines. Tiberghien and Ibragimova take the opening Allegro of the E minor Sonata, K304, quite broadly, emphasising elegiac resignation over passionate agitation. Learn more about Symphony 35, "Haffner.". 25 in C Major, K. 503; from a 1947 recording featuring pianist Edwin Fischer and the Philharmonia Orchestra conducted by Josef Krips." Yet nothing is fetishised. The catalogue of Figaro recordings is a long one, and the cast lists are full of famous names. Ildebrando d’Arcangelo was the discovery of these performances: this young bass is a lively foil to his master and on his own a real showman, as ‘Madamina’ indicates, a number all the better for a brisk speed. Even so the interpretative honours go to Anthony Rolfe Johnson's deeply felt, mellifluously sung and technically assured Idomeneo and to Anne Sofie von Otter's ardent, impetuous, and in the end touching, Idamante: the sacrificial scene between father and son is rightly the moving centrepiece of the whole opera, where the two singers' skill in recitative is finely exemplified. Pick K465 to represent the Casals’ approach, the Adagio introduction unequivocal in explaining why these 22 bars of startling false relations – A flat/A, G flat/G – and grating progressions like the chromatic sforzando clashes of F sharp/G between cello and viola raised a ruckus in its day. Well, I don't know if I'd go that far; but it is extremely difficult to choose between this and the Davis performance on Philips for non-stop momentum born of deep understanding of the musical expression of character and dramatic motivation. For that, for Haitink's interpretation, for the most lively delivery of the recitative since Giulini's version, and for at least four of the principals, I would make this my Giovanni choice, not to overlook a well-balanced, unobtrusive (and therefore typically EMI) recording. To find out more about subscribing to this unique and endlessly fascinating resource, visit: gramophone.co.uk/subscribe. 38 "Prague" and the "Jupiter" No. As he avers, he came to the piece having traversed on disc this work's two great progenitors Jephtha and Iphigenie en Tauride, both operas about parental sacrifice and obviously influential on Idomeneo. I wouldn't rate the LPO strings quite on a par with Bohm's VPO or Giulini's Philharmonia, but as a whole the orchestral playing is as taut as the direction. Orgonasova once more reveals herself a paragon as regards steady tone and deft technique – there’s no need here to slow down for the coloratura at the end of ‘Non mi dir’ – and she brings to her recounting of the attempted seduction a real feeling of immediacy. On the other hand, Uchida responds with the necessary passion to the forceful, not to say angst-ridden, A minor Sonata, K310. And there are some oddities in the cello continuo playing, too, more apt to Monteverdi than to Mozart. But – how about this for a 19th-century throwback? 40, do have an extra spark to them, which makes them much more animated and a delight to hear. Following the overwhelming popularity of our lists of the 50 greatest Beethoven, Bach, Chopin and Handel recordings, we have now gathered 50 of the finest recordings of Mozart's music – Gramophone Award-winning albums, Recordings of the Month and Editor's Choice discs, from legendary performers like Elisabeth Schwarzkopf and Benjamin Britten to modern masters like John Butt and Alina Ibragimova. If you know the more familiar Octet version, you might regret the loss of the oboes’ pungent dissonances near the opening, or of the oboe-clarinet dialogues in the Adagio. Just listen to it. His most important relationship, as Finley puts it in one of the two bonus features, is with Leporello, each character both irritated by and dependent on the other. The spacious and outgoing E flat work is no less sympathetically done, with plenty of feeling for its special kind of broad lyricism; I particularly relished the gently springy rhythms and the tenderness of the string phrasing in the first movement, and Lewis’s beautifully shaped phrasing in the Larghetto. Yet each reveals the craftsmanship Mozart lavished even on trifles for Archbishop Colloredo’s dinner entertainment. Daniel-Ben Pienaar couldn’t have begun better, not by playing but by saying, “It is inescapable that a performance practice for these works that engages the instrument’s full expressive potential needs to look beyond easy categories of ‘authentic’, or ‘modern’ or ‘historically informed’”. He gives you the overview, too, often powerfully. Gramophone is part of Mozart: The Great Piano Concertos, Vol. Dennis Brain was the finest Mozartian soloist of his generation. You can also hear there the advantage of the right-sized band and choir. (Mozart composed only one other, the Symphony No.40 in G minor, K. 550, and the use here of a key later identified with some of Mozart's most troubled and agitated music (the Symphony No. The Jupiter in particular has a wonderful bright grandeur, yet reveals details in the brilliant contrapuntal kaleidoscope of the finale that too often go unheard. Paul Lewis and the Leopold String Trio excel in this, with their feeling for its structure and its tension: I am thinking primarily of the first movement of the G minor, and especially of its great climax at the end of the development section, which is delivered with a power and a sense of its logic that are compelling. The tragedy is perhaps more restrained in the new version, Tetzlaff’s tone warmer a degree or two than Steinberg’s, though the way he uses vibrato for expressive effect is compelling. Thus Mozart could experiment and make significant contributions. Her Susanna is coquettish, with rolled Rs in ‘dolce susurro’ making my heart skip a beat. Here is a Figaro to put with the 1973 Glyndebourne production placed among the top five operatic DVDs (4/08). This new set emphatically replaces the startlingly innovative but sometimes eccentric Harnoncourt (Teldec/Warner Classics). On this album, which spans three disks, includes works like the Clarinet Concerto in A, Horn Concerto No.3 in E flat, Horn Concerto No.4 in E flat, Concerto for Flute, Harp, and Orchestra, Bassoon Concerto in B flat, Flute Concerto No.1 in G, and more. His own cadenzas are short and to the point. The listener may find that the familiar broad sweep of some of these movements is lacking, but he will generally find the compensations more than sufficient. In the great Act 2 Quartet and the last-act duet, where Mozart peers into his musical future, she is just as moving and inspires Bostridge to equal heights of tender inflexion. The finale here is paced in an original and effective way. Nick's pick for this week's Must-Have Mozart is a Nonesuch recording (79608) of pianist Richard Goode and the Orpheus Chamber Orchestra, playing Mozart's Piano Concertos No. 25 in G minor, K183 (1773) Symphony No. All are intuitively sensed and go beyond literal obedience to the written markings. Ears accustomed to Wunderlich (Jochum), Schreier (Bohm) and Heilmann (Hogwood) need to get accustomed to Bostridge’s less refulgent tone, but in the context of this period-instrument performance, with a small band (smaller, I would judge, than Gardiner’s), his silvery voice and Mozartian know-how carry the day, though his voice sometimes sounds disconcertingly similar to the nimble, ingratiating tenor of the Pedrillo, Iain Paton. 25 (Mozart); 25. Published on January 25, 2020 25, 29 and 32 followed in 1964, likewise newly minted, rhythmically buoyant and quite foreign to the ‘grand old man’ style of Mozart playing then prevalent, and which Davis himself cultivated to a degree in the latter stages of his career. A delight from beginning to end. Imogen Cooper’s two previous Mozart concerto releases with the Northern Sinfonia and Bradley Creswick (12/06 and 8/08) have both been roundly praised and no one who enjoyed them is likely to be disappointed by this latest instalment. The producer’s two misjudgements are (I think) letting the company enter halfway through the Count’s aria and cutting off at the end of what is normally Act 3 so as (presumably) to intimate a new seriousness in what is to follow. It has been very lucky on disc, and besides this delightful set there have been several other memorable recordings. A special word of praise must be given for the handling of the recitative, which really has the feeling of a live performance and is accompanied with just the right amount of embellishment by Martin Isepp. Starker still than the larger performance, this telling appendix offers a tantalising glimpse of the music that might have been played by Mozart’s friends and students as they struggled to come to terms with their loss. Having delivered herself of a fleet, easy ‘Ach, ich liebte’, Schäfer (who wasn’t in the original cast) pierces further than does any other interpreter into the soul of the woman who is both physically and emotionally imprisoned. 25 av Mozart; Simfonia núm. The purist in me noticed occasional over-smooth articulation and, at the other extreme, very short spiccato bow strokes (in the finale of K218, for example). Where so many conductors today are given to rushing ‘Mi tradì’, Gardiner prefers a more meditative approach, which allows his soft-grained Elvira to make the most of the aria’s expressive possibilities. The two new recordings are both Mozart themed. Pienaar is therefore “modern” in his discernment of the music. Marie McLaughlin sings Marcellina with unusual distinction. She presents multiple characters from the three da Ponte operas and they’re all beautifully variegated, all coming across as living, breathing individuals. Finley’s embarrassed grins, as he tries to convince Donna Anna and Don Ottavio that Donna Elvira is mad, are a joy to behold; and his fear before the confrontation with the Commendatore in the supper scene is palpable. Pamela Helen Stephen's Cherubino sounds charmingly youthful and impetuous; ''Voi che sapete'' is taken a good deal quicker than usual, and with a touch of comedy, and benefits from it. Release date: Jan. 29, 2021. Showing 1 - 10 of 97 results When you take a long hard look at the work of W.A Mozart it is no minor challenge to have to select the best of his symphonic oeuvre. 9 is important: it’s not ‘To the New World’; it’s ‘From’ - this is very much a symphony that looks back, from the USA, to the composers native Bohemia. The Lucerne Festival Strings are a small enough body to allow even accompanying lines to be played in a positive, lively manner (notice the variants in the support the violins give to the returns of the rondo theme in K216’s finale). Mozart informed his father that he had composed the Serenade K375 ‘rather carefully’ to impress Herr von Strack, a Viennese nobleman sporting the splendid title of ‘Gentleman of the Emperor’s Bed Chamber’. Throughout this scene, Gardiner’s penchant for sharp accents is wholly appropriate; elsewhere he’s sometimes rather too insistent. It’s given to very few to play Mozart as well as Richard Goode, who seems to me to pitch the rhetoric just right and sustain an ideal balance of strength and refinement. Gordan Nikolitch goes further. Nalen Anthoni (Awards issue 2014), A delicately breathy sotto voce at the beginning of K421 presages promise. The recitative is sung with exemplary care over pacing so that it sounds as it should, like heightened and vivid conversation, often to electrifying effect. Mozart’s 1785 dedication of six quartets to Haydn reads: ‘May it therefore please you to receive them kindly and to be their Father, Guide and Friend.’ Respect is clear; but when the 96-bar Andante con moto of K428 offers a strong reminder of the 96-bar Affettuoso e sostenuto of Haydn’s Op 20 No 1, also in A flat and in compound time, affection becomes implicit too. Here is personal involvement that from now on is present in full flower. Or perhaps that is a way of saying that they give the kind of performance the camera likes: their energy is creditably youthful and spontaneous, and their facial expressions work largely through eyes and eyebrows. Wednesday, May 15, 2019, 50 of the finest Mozart recordings in history, plus extracts from the original Gramophone reviews, a playlist, and links to the albums on Apple Music. That said, the performance is scarcely less enjoyable than that of K456, not least in the C minor Andante, which at Brautigam’s unusually mobile tempo is just as touching, and (in the confrontational second variation) more dramatic, than in more gravely paced readings. Those who specially relish a Karajan or a Solti will hardly recognise the work, with its strongly wind-biased orchestral balance: you simply do not hear the violins as the ‘main line’ of the music. 25, 29 and 32 followed in 1964, likewise newly minted, rhythmically buoyant and quite foreign to the ‘grand old man’ style of Mozart playing then prevalent, and which Davis himself cultivated to a degree in the latter stages of his career. Finley goes grim-faced from one defeat to another, singing like a true aristocrat all the way. There are other examples of such flexibility, sometimes a shade disconcerting (mainly, perhaps, because we aren’t used to it), but always with good dramatic point. Kristina Hammarström’s ardent Idamante is almost on a par with other eminent castrato-substitute counterparts on disc (Anne Sofie von Otter, Lorraine Hunt Lieberson and Bernarda Fink); “No, la morte io non pavento” has the perfect characterisation of virtuous courage. It is tempting to simply choose the last symphonies that Mozart wrote but this would be at the expense of earlier and I would argue equally important works. 40 in G minor. How best to take it in, 200 years later? Mozart - Die Zauberflöte (The Magic Flute) / Keenlyside, Roschmann, Hartmann, Damrau, Selig, Allen, Sir Colin Davis, Covent Garden (2003). The Sunday Times Best Classical Record of 2008. | The extensive dialogue, spoken in a manner suitable for the theatre, sometimes sounds over-emphatic in the home, with the Papagena as an old woman the worst culprit. True to form, though, there are controversial tempo choices and manipulations within a single number – say, in the Act 2 trio for Pamina, Tamino and Sarastro, which races out of the blocks before slowing right down for the final page. BBC Radio 3's 'Record Review' A Disc of the Year. The VPO under Karl Böhm is at its best; and so is the quality of recording, with a good stereo separation of the two solo parts, highly desirable in this work. I can only hope for a set of the fantasies, rondos and miscellanea so that I can continue this paean. Never have the 16 minutes of the first movement of the A major Sonata (K331) passed more graciously, for me at least, and the acknowledgement of the Adagio marking for the fifth variation is exquisitely tasteful. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of the ennoblement of Sigmund Haffner the Younger .The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission … Roger Norrington’s recordings with the London Classical Players set the tone for historically informed … Often this opening isn’t inward enough and sometimes the tempo is too fast for Allegro moderato. This complete recording (minus only the simpler versions of ''Fuor del mar'' and the shortest version of Neptune's music) offers the intending buyer three, very well-filled discs. Wolfgang Amadeus MOZART Concertos Here we have examples for some of Mozart's most popular concertos rearranged on New World instrumentation. Given the partial state of the work (only the Introit was complete in Mozart’s hand), it is supposed that this performance consisted of the Introit and the ensuing Kyrie fugue, for which an amanuensis filled in the doubling woodwind parts. As at the Queen Elizabeth Hall this creates the correct sense of internal tensions within external formality. I prefer Brautigam’s more flowing manner in the G minor Andante, where Levin’s minute inflections can sound over-exquisite. The remastering leaves the horn timbre, with full Kingsway Hall resonance, unimpaired, but has dried out the strings. This audio clicking track works with Clarinet Quartet and Clarinet Quintet versio The best recording of Mozart’s Piano Concertos. The Count’s is an unenviable role: nobody likes him, and by Act 4 he has begun to wear his “foiled-again” expression too often. Hearing of Abbado’s death as I write these words turns the pleasure of hearing it into something altogether more bittersweet. Similarly Lehtipuu is a charming and wide-eyed Ferrando and Pisaroni a warm-voiced and personal Guglielmo. Still, while I missed the oboes’ pastoral plaintiveness in movements such as the opening siciliano of K252, the sensuous warmth of the clarinets is fair compensation in the mellifluous A flat major Trio, or the Adagio of K253. Giovanni is certainly the most recorded of Mozart's operas, so the work must be much in demand among collectors who, like Giovanni in his search for women, seem unsatisfied by the available choice. The bar was set in the mid 1980s by Gardiner and Hogwood, then raised in the new millennium by the likes of McCreesh, Krivine and Langrée. Here are all the sonatas, plus the Fantasia in C minor, K475, which is in some ways a companion piece to the sonata in the same key, K457. Blackshaw is one of the few who know how to make the music sing and dance without making a song and dance of it. 28 in C, K200. Great Classical Music Gifts for Christmas, The Greatest Composers of the Classical Period, Biography of Ludwig van Beethoven, German Composer, Ensembles: Making Beautiful Music Together, Hommage a Frederic Chopin Meisterstuck Fountain Pen by Mont Blanc, Mozart: The Great Piano Concertos, Vol. But the idea of using vocal ornamentation from sources of Mozart’s own time, or just after, at the singers’ choice, is a happy and very successful one. After the double bar of the slow movement Lupu and Perahia become lost in each other's thoughts and the effect is overwhelmingly beautiful. The casting of the smaller parts doesn't make for such vibrant theatre as in either Davis or Haitink; but the care originally lavished on the production by Walter Legge is celebrated in remastering which cuts out glare and distortion, while losing none of the depth and perspective which belong uniquely to Giulini's reading. His legacy to future generations of horn players has been to show them that the horn – a notoriously difficult instrument – can be tamed absolutely and that it can yield a lyrical line and a range of colour to match any other solo instrument. Those for whom a ripe profundo Sarastro, in the mould of Kurt Moll or René Pape, is a sine qua non will doubtless be disappointed by Jacobs’s choice. Véronique Gens offers a beautifully natural, shapely ‘Porgi amor’ and a passionate and spirited ‘Dove sono’ (with the piano rampant near the end). Clarinets can be dulcet, as in the tenderly phrased Adagio, yet are not afraid to rasp and bite, to specially vivid effect in the sprightly second Minuet. David Threasher (May 2014), Margaret Price, Trudeliese Schmidt, Francisco Araiza, Theo Adam; Staatskapelle Dresden / Peter Schreier. The Minuet is very forcefully played. Now that achievement is mostly confirmed in a recording that is definitely the peer of those that have gone before and possibly their superior in several respects. Like many modern-instrument performances these days it shows the period-orchestra influence in its lean sound, agile dynamic contrasts, sparing string vibrato, rasping brass, sharp-edged timpani and prominent woodwind, though given Mackerras’s long revisionist track-record it seems an insult to suggest that he would not have arrived at such a sound of his own accord. Familiar, perhaps, but rendered almost hallucinogenic when refracted through the prism of her unique musical imagination. Mozart: Symphonies Nos.25 & 29 / Clarinet Concerto by Peter Schmidl [Clarinet] ... one of the finest symphonies Mozart wrote, and one of my top ten symphonies personally. Her Cherubino is breathless with hormonal excitement (‘Voi che sapete’ wonderfully ornamented in the repeat), her Countess aches with pain. Mozart’s solo keyboard music inhabits a somewhat isolated corner. Frankly, I'm reviewing the symphony itself more than this recording. 25 (Mozart) at the Mutopia Project (the Andante movement) Symphony No. Pity the sound isn’t always clear and detailed. That performance is hypothesised here with slimmed-down vocal and string parts, and with trumpets and drums missing from the Kyrie (on the presumption that the parts hadn’t been provided by that time). Donna Elvira is tormented and slightly unhinged, allowing touches of bluster into her coloratura, whereas Zerlina is all sweetness and innocence, demonstrating plenty of agility in the closing phrases of ‘Batti, batti’, which is taken at a sprightly pace. There’s a geniality about his stage presence that makes Gerald Finley more suited, I suspect, to Figaro and Leporello than to the Count and Don Giovanni. So much for the (quite important) nuts and bolts. The disc closes with what purports to be a re-enactment of an even earlier ‘first performance’ of the Requiem. It's one of the most poignant, energetic, elegiac and spiritual symphonies ever composed, and has some of the most glorious melodies ever penned. Tempi are aptly chosen (the opening Allegro properly maestoso), and accompanying figuration lives and breathes, not least in the Adagio, where the horns inject delightful touches of jauntiness into the poetic reverie. I cannot go without posting Mitsuko Uchida's recording of Mozart's Piano Concertos 20 & 27. The Ladies sing and blend as well as they act, while the trio of boys is less hooty and better tuned than most. 25), August 1987 (Nos. Older readers will think, first, of the famous Erich Kleiber set, where you feel you are in the stalls, eager for the rise of the curtain, the moment you hear the overture begin. Süssmayr’s much-maligned filling-in of the Requiem torso has lately enjoyed a resurgence in its acceptance by the scholarly community – not that it has ever been supplanted in the hearts and repertoires of choral societies and music lovers around the world. The partnership between him and Allen has become intuitive through the experience of the Glyndebourne run, and is much appreciated. She maintains this high standard throughout in a winning performance. Here it is the very last concerto – often described as ‘autumnal’ or ‘valedictory’, given its proximity to Mozart’s death (although it may have been started up to three years earlier) – prefaced by the triumphant C major work whose chief motif seems almost to quote the Marseillaise. To put it over-simply: the traditional way of playing Mozart, on a modern symphony orchestra, and indeed even on a modern chamber orchestra, has been to emphasize two things: the line of the music (usually of course the first violin part), and the texture as a totality. The balance among the men is affected by the casting of Figaro with a weightier singer than the Count. Then there is Angelika Kirschlager’s Cherubino, alive and urgent in ‘Non so più’, every little phrase neatly moulded. In the first movement, with its suggestion of a march for toy soldiers, Levin is more reflective, Brautigam more playfully extrovert, stressing continuity of line above rhythmic and tonal nuance. The Ostman version has something of that, too. It’s quite big playing and I like that, too, the range of sonority appropriate to the A minor Sonata, K310, in particular; and I can’t recall a recent recording of it which realises so well the sharp contrasts, the cross-cut abutments of dynamics, which are such a striking feature in all three movements. It is set in 1960, the world of La dolce vita, all scarves and dark glasses; but the location is Franco’s Spain (where the Fellini film was banned until after the monster’s death). Performed by the Monteverdi Choir and the English Baroque Soloists, conductor Sir John Eliot Gardiner creates a nearly flawless rendition of Mozart's Requiem as it would sounded when it was first composed in 1791. Alan Blyth (June 1991), Sols incl Elsner, Hammarstrom, Bonde-Hansen; Danish Radio Sinfonietta / Adam Fischer. But the line of his playing, appropriately vocal in style, is exquisitely moulded; and the only reservations one can have are that a hushed, 'withdrawn' tone of voice, which he's little too ready to use, can bring an air of selfconsciousness to phrases where ordinary, radiant daylight would have been more illuminating; and that here and there a more robust treatment of brilliant passages would have been in place. Has echoes of operetta, although she remains a true Mozartian stylist of dramatic life in 's! Support – go through the rococo motions pleasantly enough important of the surrounding texture suggests civilised! That it was Lenny who brought Mahler back to Vienna, much to the ear, as as! Britten 's performances are matched by the legendary composer ( ‘ Jupiter ’ ) first of all,,... Belgian period-instrument Orchestra Anima Eterna ’ s Mozart is a rare gift standard throughout in a,. Philip Hope-Wallace, reviewing the original recordings were from the pen of Boz! 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London Classical players set the tone for historically informed … Browse: Mozart - -! The F major, K201 ( 1774 ) Symphony No Naoko Yoshino hp Concentus Musicus Wien / Harnoncourt.
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