Mozart Early Symphonies
View record and artist detailsRecord and Artist Details
Composer or Director: Wolfgang Amadeus Mozart
Genre:
Orchestral
Label: Telarc
Magazine Review Date: 9/1988
Media Format: CD or Download
Media Runtime: 77
Mastering:
Stereo
DDD
Catalogue Number: CD80165
Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 25 |
Wolfgang Amadeus Mozart, Composer
Charles Mackerras, Conductor Prague Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
Symphony No. 28 |
Wolfgang Amadeus Mozart, Composer
Charles Mackerras, Conductor Prague Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
Symphony No. 29 |
Wolfgang Amadeus Mozart, Composer
Charles Mackerras, Conductor Prague Chamber Orchestra Wolfgang Amadeus Mozart, Composer |
Author: Lionel Salter
The Prague Chamber Orchestra do not use period instruments and play at standard modern pitch, but under Mackerras's expert stylish guidance their approach here is about as 'authentic' as could be desired: articulation is pointed and clear all possible repeats (except for the second half of Andantes) are played, including those in da capos of Minuets- first and second violins are placed antiphonally; acciaccaturas replace appoggiatur as (causing some unexpected outlines) in the first movement second subject both of Symphony No. 25 and of No. 29, and a harpsichord continuo is said to be present, though except in the Andante of No. 28 it is undetectable at normal listening level. More importantly, the performances are finely shaped and full of character—the enchanting A major (what a little masterpiece from an 18-year old!) graceful and charming- the C major all bustle and gaiety, with maximum effect produced by those horn summonses in the Andante (but how could the commentator say that none of these three symphonies includes a timpani part?); the G minor impassioned, with a fierce daemonic drive which, together with the second movement's con stant sighs, lends a certain plausibility to the theory that it reflects the grief (mentioned in one of Mozart's letters as well as one of his father's) felt at the death of an old Salzburg friend. (But did external events colour his music?)
The diffuse acoustics of the Hall of Artists in Prague are not ideal for this clean-limbed music: the start of the C major Symphony is noticeably over-resonant, and throughout the A major I kept wishing for the freshness and 'presence' that made the ASMF's Philips mid-price recording so delightful. But, comparisons apart, these are nevertheless very attractive readings.'
The diffuse acoustics of the Hall of Artists in Prague are not ideal for this clean-limbed music: the start of the C major Symphony is noticeably over-resonant, and throughout the A major I kept wishing for the freshness and 'presence' that made the ASMF's Philips mid-price recording so delightful. But, comparisons apart, these are nevertheless very attractive readings.'
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