Sunday, May 21, 2017

Recommended Classic Recordings: No. 1, The Magic Flute

At the bottom of the blog is a list of ten recommended classic recordings. Several years ago I made this list for my brother. I tried to include a variety of styles, composers, and types of pieces in the list. Here are some thoughts on the first recording on the list.

Recording No. 1. -- Mozart: The Magic Flute; Sir Colin Davis, conductor, Staatskapelle Dresden, orchestra; Rundfunkchor Leipzig, choir; Moll, Schreier, Price, Serra, Melbye, Venuti; Philips Duo, recorded in 1985, released on CD in 1994.

This is Mozart’s most likable opera. It premiered only months before he died and, along with other successes that had just preceded it, would have made Mozart a rich man had he lived. The plot of the opera, which is based on Masonic rituals and themes, was dreamt up by a friend of Mozart’s. The plot is a bit puzzling, but the music is stellar. 

The individual numbers in this opera are like musical pearls strung one after another. Brilliancy follows brilliancy. Like the Beatles at their pinnacle, every number is or should be a hit. Having said that the opera is uniformly brilliant, here are seven numbers in the opera that are my favorites:

The overture, unlike many operatic overtures, does not quote any of the themes from the remainder of the opera. It is full of richness and variety and takes its place alongside the overture to the "Marriage of Figaro" as one of the best opera overtures ever written.

No. 2: “Der Vogelfänger bin ich ja”
This is an aria sung by the character Papageno: “I am the bird catcher.” The tune is as pleasing as any you will ever hear. It is one of opera’s most memorable and famous melodies.

No. 7: “Bei Männern, welche Liebe fühlen”
This duet is very special. It is a sung by Papageno and the central female character of the opera, Pamina, who Papageno has been sent to rescue. It is naïve, idealistic, simple, and beautiful.

No. 8, part 3: “Wie Stark ist nicht dein Zauberton”
This is an aria sung by Tamino, the “hero” of the opera. It starts with the light and lilting “Magic Flute” theme played by a flute. Be careful not to get this tune stuck in your head. If you do, you may hum it for days.

No. 10: “O Isis und Osiris”
An impressive aria for the bass, Sarastro.

No. 14: “Der Hölle Rache kocht in meinem Herzen”
Fireworks! Warning! Really high notes, including F’s more than two octaves above middle C! Mozart is said to have spoken of this piece on his deathbed. As he lay dying he supposedly told his wife that in his head he could hear his sister-in-law, who was the singer in the original performances of this work, hitting the high F’s. 

No. 20: “Ein Mädchen oder Weibchen”
This aria revisits Papageno’s bird catcher tune.

These seven numbers can serve as touchstones—tunes that you can use to keep your bearings as you work through the opera; pieces that you can look forward to with anticipation. But once you become familiar with them you will likely develop your own favorites. And there are some really great and funny parts. Like “Hm!, hm!, hm!, hm!”—where Papageno tries to sing while his mouth is bound shut; or a number late in the opera where Papageno, the “birdman,” and his wife-to-be unite in song and sound like chickens. Mozart makes these crazy ideas brilliant.

The particular recording I recommend does not include the recitative, the spoken parts between the musical numbers. I am generally a purist, but in this case I will not insist upon imposing the recitative on everyone. This recording is a great value and one I have enjoyed for years.

Also, the famous director Ingmar Bergman did a version of the Magic Flute that can easily be found on DVD or on streaming services. It’s performed in Swedish and is a touching tribute from one great artist to another.

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Ten Recommended Classical Recordings: A Sampler for Those New to the Classical Scene

The following is a list of classical recordings that offer a variety of classical genres: opera, symphonies, keyboard, violin concerto, solo cello, piano concerto, and oratorio. Though it is mostly mainstream with respect to the represented composers, it reflects a variety of interesting sounds.

Because the list is intended for someone who is starting to explore classical music many of the recordings are now budget issues. If you have thoughts on the list or would like to pipe in with your own, please do!

1. Mozart: The Magic Flute; Sir Colin Davis, conductor, Staatskapelle Dresden, orchestra; Rundfunkchor Leipzig, choir; Moll, Schreier, Price, Serra, Melbye, Venuti; Philips Duo, recorded in 1985, released on CD in 1994.

2. Beethoven: Symphonies No. 5 and 7, Carlos Kleiber, Wiener Philharmoniker; Deutsche Grammophon, recorded in 1975 and 1976, released on CD in 1996.

3. Bach: Keyboard Pieces, Toccata, BWV 911; Partita BWV 826; English Suite No. 2, BWV 807; Argerich; Deutsche Grammophon, recorded in 1980, released on CD in 2000.

4. Tchaikovsky: Violin Concerto in D; Brahms: Violin Concerto in D; Jascha Heifetz; Fritz Reiner, Chicago Symphony Orchestra; RCA, recorded in 1957, released on SACD in 2005.

5. Panorama—Edvard Grieg, two discs of various piano and orchestral works; Deutsche Grammophon Panorama, recorded on various dates, released on CD in 2000.

6. Bach: Six Unaccompanied Suites for Cello; Yo-Yo Ma; Sony, recorded in 1983, released on CD in 1990.

7. Mozart: The Great Piano Concertos, Vol. I—Brendel; Sir Neville Mariner, The Academy of St. Martin in the Fields; Philips Duo, recorded in 1972-82, released on CD in 1994.

8. Handel: The Messiah; Sir Colin Davis, London Philharmonic Orchestra; Philips Duo, recorded in 1966, released on CD in 1994.

9. Rachmaninoff: Piano Concerto No. 3 and Tchaikovsky: Piano Concerto No. 1; Martha Argerich, Philips, recorded 1982 and 1980, released on CD in 1995.

10. Bach: The Brandenburg Concertos Nos. 1-4 (separate disc one); and Brandenburg Concertos Nos. 5-6 and Orchestral Suite No. 1 (separate disc two), Neville Marriner, The Academy of St. Martin in the Fields; EMI, recorded in 1985, released on CD in 2004.