Serenades, divertimenti and cassations,
all music designed for light occasions
and often performed out of doors, form
a large and vital part of Mozart’s output.
In 1776 alone he composed
nine such works. The so-called Haffner
- commissioned by the son of the
mayor of Salzburg to be played at the
wedding celebrations of his sister -
is his crowning achievement in the genre.
At almost an hour long, it represents
a number of forms. Individual movements
can be pieced together for what looks
like a symphony; others would easily
make up a violin concerto. Dance forms
are also not neglected.
Günter Wand was
a conductor of the old Kappellmeister
mold, a quiet, gentle and devout man
of music who regarded Mozart as the
be-all of composers. He likened Mozart’s
genius to a religious experience, telling
his biographer that music as perfect
as Mozart’s was undeniable proof of
the existence of God. Such devotion
plays itself out in these elegant performances.
The serenade is a large-scale
work, and given that it was intended
more as occasional music than as a work
for uninterrupted concentrated listening,
there can be a problem or two with connectivity
between the movements. Wand chooses
tempi that are wholly conducive to a
complete hearing. Phrases are turned
so elegantly that one’s attention has
no chance to wander. This is for a large
performing force, larger perhaps than
any of Mozart’s similar works, a circumstance
that gives evidence to the outdoor nature
of the piece. Wand makes full use of
the colors and sonorities available
to him from a modern full-scale symphony
orchestra. Yet, the overriding affects
here are grace and elegance. At no time
does the listener ever feel overpowered.
At no time does one have to stop and
wonder what this would sound like in
a period specialist’s hands with antique
instruments. Wand finds a splendid balance
between power and gentility, charm and
energy. Ernö Sebestyen’s superb
violin solos are icing on the cake.
The concert aria Bella
mia fiamma was written as a consolation
prize for a favorite singer who was
not cast in the original production
of Don Giovanni. The story goes that
said soprano locked Mozart in a drawing
room and refused to let him out until
the piece was finished for her. He in
turn insisted that she would not get
the score unless she could read it perfectly
at sight. Whether or not this is true
it is a good tale and good music like
this should have a good tale to go with
it. Edith Wiens is a singer that I knew
heretofore in name only. I am glad to
have made her vocal acquaintance finally.
She sings with full throated vigor and
careful attention to the text. And,
she is quite capable of a fine dramatic
expression or two as well.
Profil have been releasing
a fine series of discs from radio archives,
and in particular have given Wand and
Klaus Tennstedt some very well deserved
re-examination. This disc is a nice
addition to any collection. The series
has on the whole been well packaged,
with excellent notes, and of first rate
sound quality. In this particular issue
though, the absence of texts and translations
for the concert aria is inexcusable.
With only that one
little caveat, this is a highly recommendable
disc.
Kevin Sutton
Bavarian Radio Symphony Orchestra/Günter
Wand 
