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Mozart: The Complete Symphonies [Box set]

Jeffrey Tate Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
Price: 34.67 & FREE Delivery in the UK. Details
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Product details

  • Audio CD (19 Aug 2013)
  • Number of Discs: 12
  • Format: Box set
  • Label: EMI
  • ASIN: B00D56AD76
  • Other Editions: Audio CD
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 134,429 in Music (See Top 100 in Music)

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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars Excellent Performances 22 Mar 2014
Format:Audio CD|Verified Purchase
I have really enjoyed this set. The performances are consistently excellent and the recordings are good. Moreover there are many gems that I had never heard before,the set is complete including some symphonies whose attribution is doubtful.All in all a very good buy.
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Amazon.com: 5.0 out of 5 stars  4 reviews
39 of 41 people found the following review helpful
5.0 out of 5 stars Mozart's Complete Symphonies (plus a few he didn't write) 30 May 2004
By J Scott Morrison - Published on Amazon.com
Format:Audio CD
This box of 11 CDs contains all the known symphonies written by Mozart, except for the only recently (1983) discovered very early symphony in A Minor, the so-called 'Odense' Symphony, and for lagniappe includes a couple that were written by others but which had for most of two centuries been thought to be by Mozart; certainly without a guidebook I would not have known which were the ringers. The performances are divided between Nicholas Ward leading the Northern Chamber Orchestra (based in Manchester) in mostly early symphonies (up to No. 26, but also including No. 37 which was actually written by Michael Haydn, Joseph Haydn's younger brother), and Barry Wordsworth leading the Capella Istropolitana (based in Bratislava, Slovakia) in the later symphonies.
Foolishly I had over many years neglected Mozart's earlier works, thinking, as many do, that they were immature and not worth bothering with. It was only when I heard a performance by the American String Quartet of some of the early quartets (including the remarkably lovely Quartet in F, K. 168) I began to rethink my position. And I must say that this curiosity has been amply repaid by this super-budget box of all Mozart's symphonies. Just listen, for instance, to the very first symphony, K. 16, and in particular the lovely Andante movement, and you'll hear 'Mozartean' turns of phrase and harmonies; I would never suggest that this is 'immature' or 'schoolboy' music even in spite of the fact that Mozart wrote it when he was only eight! The other early symphonies deserve slow scrutiny in order to discover similar felicities. The 'late' symphonies - those are generally considered to begin with the marvelous No. 29 in A, K. 201 - are given absolutely competitive performances by Wordsworth and his Slovakian musicians. I particularly liked their fleet but solid performances of that miraculous set of three, Nos. 39, 40 and 41, which ended Mozart's symphonic career in a final burst of compositional genius. My own favorite of all the Mozart symphonies is No. 35, the 'Haffner,' K. 385, and it is given as good a performance as I've ever heard of it.
I have owned other recordings by both these orchestras and conductors and thought I knew what to expect. I was, however, notably surprised by how specially alert and alive these recordings are. They are crisply and sweetly played with a verve that sounds for all the world like they are live performances. Indeed, I learned that although they are not recordings of concert performances, they were recorded in several bursts of intense work by both orchestras and conductors and one can hear the slight edginess of that sort of situation, not in the sense of edgy tone, but in the sense of the players sitting on the edges of their chairs with all their senses engaged. In a word, these performances are superb, and now that I've made their acquaintance I can assert that many Mozart lovers would pay full price for them. Fortunately they don't have to.
The set comes in a sturdy white cardboard box with the eleven CDs in individual paper sleeves. The booklet (in English only) contains Keith Anderson's knowledgeable but rather brief notes on each symphony.
One further word: these are modern instrument performances. I am one of that frankly antediluvian sort who prefers classical and galant repertoire be played on modern instruments but with a certain amount of authentic performance practice; that's what we have here and I say 'Hurrah for that!' When you take into consideration the really quite remarkable price being asked for this set, I can't imagine why anyone would balk.
TT=10hrs, 59mins
Scott Morrison
17 of 17 people found the following review helpful
5.0 out of 5 stars A great bargain box of Mozart Symphonies 31 Aug 2005
By Alan Majeska - Published on Amazon.com
Format:Audio CD
Naxos' release of the complete Symphonies of Wolfgang Amadeus Mozart (1756-1791) is a great bargain box. The recordings of the earlier symphonies, 1-24,26,37 are by the Northern Chamber Orchestra (Manchester, England) conducted by Nicholas Ward and the later symphonies: 25, 27-41, are by the Bratislava, Slovakia orchestra Capella Istropolitana, conducted by Barry Wordsworth. Ward's recordings date from the early 1990s; Wordsworth's from the late 1980s. All are digital sound, and well recorded. The Northern Chamber Orchestra has about 25 players, but doesn't sound thin or scrawny - they use modern instruments, and Naxos does a great recording job. The Cappella Istropolitana is also well recorded, and sounds larger than the Northern Chamber orchestra: perhaps about 50 players?

Wordsworth's recordings suffer more from comparison with big name conductors of the past (and not so distant past) such as Beecham, Walter, Bohm, Szell, Klemperer, Kubelik, Krips, Kertesz, and Bernstein. Competition is fierce in Mozart Symphonies 35 and after, as almost all the great conductors have recorded them, rather like the Beethoven or Brahms Symphonies. But Wordsworth's accounts are respectable, if not always the best: 35 and 39 are very good, the others quite good. My only complaint is that in some movements Wordsworth could have repeated the exposition section, as I'm all ready to hear it again (some listeners will not agree). And some Allegro movements are a little pokey. The Capella Istropolitana's strings, I think viola section, is shaky in II of Symphony 34. But I am nit-picking: these are really quite good performances, and the price is right!

My favorite Mozart Symphonies are recordings of Bohm/Berlin Philharmonic (DG), Krips/Concertgebouw (Philips, Symphonies 21-41, with Marriner/St. Martins for 1-20), Bruno Walter/New York Philharmonic (25,28,29,35,36,38-41: Sony), and Szell/Cleveland (35,39,40,41), and I'm glad to hear Naxos' production, too.
6 of 7 people found the following review helpful
5.0 out of 5 stars Great music! Great Productions! Great Sound! Great Value! 19 Nov 2012
By Coffee Bean Lover - Published on Amazon.com
Format:Audio CD|Verified Purchase
This set is a real sleeper. Most music afficionados associate the Phillips recordings of Mozart symphonies with excellent. These Naxos recordings, albeit different than the Phillips recordings are truly excellent. Even though the box set may not be readily found, the 11 individual CDs are still available. Please also know that the recording qualities of these CDs are wonderful. The signal-to-noise ratio is as good as it gets and the background noise approaches zero. The music and production quality is equally as good as is the sound quality. Oh yes, the discs are all labeled thoroughly and correctly.

Thank you Naxos and Amazon. Mozart would have been proud to listen to these discs!!!!!
5.0 out of 5 stars This collection includes at least... 8 Feb 2014
By Kirk List - Published on Amazon.com
Format:Audio CD
Twelve symphonies in addition to the 41 formerly considered the total symphonic canon of Mozart. And they are not negligible
despite my unfamiliarity with them. even after years of living with Neville Marriner's set including some of them. Marriner's approach
is quite similar to Tate's primarily in the earlier works: brisk tempi, prominent winds, unrushed slower movements. Differences
accrue mostly in #s 24-41, and they are not pronounced. I find Tate best in #s 25-36 and 38-40. I would like more grandeur and
momentum in the Jupiter. They are extremely well prepared and detailed // Tate's Haydn symphonies (especially #s 99-104-see my reviews). I would audition #s 36 and 38 first. Timings may seem slow because most repeats are observed, but I find most
of them sufficiently quick. The introductions to both are duly ceremonial, with that in the Prague closely related to the Don Giovanni
Overture. Slow movements are poetic and intense, with a melting second theme in the Prague. They yield little to the great
versions of Eugen Jochum, Christoph von Dohnanyi and Otto Klemperer. Tate is also at his best in #s 25 and 28-33., with a
perfect #31 and fine #29. #34 is very good but yields to Szell's great reading with the Royal Concertgebouw on Philips. As a complete set, it remains my favorite -closest as a larger group are the Krips/Concertgebouw #s 21-33 on Philips, Dohnanyis $s 35-41/Decca and Jochum's #s 35-41/DG/Philips/Golden Melodram (in #41). Other selected favorites:
among the later symphonies: Klemperer/EMI and/or Testament- #s 25, 29, 31, 33,35, 38-41
Szell: #s 28, 29, 33-35, 39-41
Dohnanyi: #s 35-41
Jochum: #s 30, 35-41
Leitner: #s 31 and 36
Carlos Kleiber: #s 33 and 36
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