Mozart in Havana

She pays the C major, K467, with heartfelt directness, purity of line and a way of bringing out inner counterpoints without labouring the obvious or exaggerating feminine endings in the name... — Gramophone Magazine, July 2017 More…

Release Date: 21st Apr 2017
Catalogue No: 88985382442
Label: Sony
Length: 56 minutes

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Mozart: Piano Concerto No. 21 in C major, K467 'Elvira Madigan'

29:30

Album only

José Antonio Méndez Padrón
Simone Dinnerstein (piano), Havana Lyceum Orchestra

I. Allegro maestoso

14:58

Album only

II. Andante

7:05

$1.35

$1.75

$2.10

III. Allegro vivace assai

7:27

$1.35

$1.75

$2.10

Mozart: Piano Concerto No. 23 in A major, K488

26:52

Album only

José Antonio Méndez Padrón
Simone Dinnerstein (piano), Havana Lyceum Orchestra

I. Allegro

11:26

Album only

II. Adagio

7:14

$1.35

$1.75

$2.10

III. Allegro assai

8:12

$1.35

$1.75

$2.10

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Enriched by her first collaboration in 2015 with this Cuban Youth Orchestra Simone Dinnerstein returned to Havana this year to record two of Mozart’s most well-known and loved piano concertos with them.

One of the first recorded classical music collaborations between US and Cuban musicians since the thawing of political relations between the two countries.

The young Havana-based orchestra overcomes challenges rarely faced by western orchestras including lack of access to quality instruments and materials (the musicians often retune their instruments down to A336 to ensure longevity of their strings).

Reviews

July 2017

She pays the C major, K467, with heartfelt directness, purity of line and a way of bringing out inner counterpoints without labouring the obvious or exaggerating feminine endings in the name of 'expression'....the orchestra's potential for greatness is obvious, and so is the seriousness and fervent dedication that their music director Jose Antonio Méndez Padrón brings to everything he conducts.

1st June 2017

the orchestra plays with winning buoyancy, freshness and simple elegance. The sound is robust, blended rather than transparent, and may not appeal to period-performance devotees, yet it’s never too heavy. It’s a good match for the playing of US pianist Simone Dinnerstein, who was taught by a Cuban émigré. Her interpretations are graceful, lyrical and mostly unfussy.

Mozart in Havana

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