Aureole etc.




Golden Age singers

Nimbus on-line




Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett

BUY NOW 

AmazonUK   AmazonUS

Wolfgang Amadeus MOZART (1756-1791)
Symphonies: No. 40 in G minor, K550a (1788) [28'33]; No. 31 in D, K297b (1778) [19'23].
aStuttgart Radio Symphony Orchestra/Gianluigi Gelmetti;
bSalzburg Mozarteum Orchestra/Jeffrey Tate.
Rec Rokokotheater Schloss Schwetzingen, 1991 and Mozarteum, Salzburg, as part of the 1999 Salzburg Festival.
PCM Stereo. 4:3. Region Code 0. Director: Jànos Darvas.
ARTHAUS 100 073 [56'00]

 


 

An early Arthaus product here - notice the number - containing two contrasting performances of Mozart symphonies. The booklet notes discuss the symphonies in chronological order, starting therefore with the 'Paris'. Could Arthaus have changed their minds and put the G minor first, simply because it leads on to the better performance?

Gelmetti's G minor is rather run-of-the-mill. The setting is impressive, in a castle, although strangely it looks at times as if it is a painted-on piece of scenery in the background! Camera work is fine, with many shots of Gelmetti's possibly over-emotive conducting - especially in the second movement - and appropriate shots of soloists. In fact it is very similar in feel to the Gielen Beethoven DVD cycle I reviewed on these pages. The Stuttgart orchestra plays well, sculpting the lyrical parts affectionately. The repeat is taken in the first movement.  There are many nice moments, and some when ensemble just about stays together. The recording seems to favour the bass end, leading to muddying of textures on occasion; the church acoustic can't have helped!

Long breaks between movements feel rather disruptive sitting in one's living room and the general impression is that you probably had to be there. How else to explain the audience's enthusiasm at the end?

Jeffrey Tate's Mozart is far better-known, and with good reason. Tate draws a punchy, involving sound from his Mozarteum orchestra, the opening truly gestural. Violins can perhaps tend towards the sluggish in fortes, but it is the suave moments that impress. The whole performance exudes style ... in both senses. Plenty of opportunities to examine Tate's gestures; always for the musicians, always expressive, always with a point. The scales towards the close of the first movement are spot-on; the close itself positively joyous.

Although Tate's Mozart is 'big' in scale, the slow movement radiates tenderness; the string definition in the finale has to be heard to be believed.

Difficult to recommend this product then, if only one symphony out of two - and the shorter one at that - is fully up to scratch. But if you get a chance to see the Tate, do.

Colin Clarke

 



Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
Atoll
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Return to Index

Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.