Wolfgang Amadeus MOZART (1756-1791)
Symphony No.38 in D major “Prague” K504 [38:55]
Symphony No.39 in E flat major K588 [32:13]
NDR Radiophilharmonie/Andrew Manze
rec. 13-18 March 2021, Großer Sendesaal des NDR Landesfunkhaus, Hannover,
Germany
Reviewed as a digital download from a press preview
PENTATONE PTC5186765
[71:21]
This recording completes the set of the last Mozart symphonies by these
forces conducted by Andrew Manze after their superb coupling of Nos. 40 and
41 from 2019 (PTC5186757). I was surprised that that recording didn’t
garner more admiring reviews. I hope this new release gets the plaudits its
companion didn’t get but certainly deserved.
Manze is one of the most interesting conductors around at the moment.
Whether it is his excellent Vaughan Williams symphony series (Onyx) or his
positive contributions to the dazzling Martin Helmchen’s recordings of the
Beethoven piano concertos (Alpha), whatever Manze is up to is always worth
listening to.
To begin with, Manze includes all the possible repeats. Back in the days of
Harnoncourt’s pioneering recording of the Prague, this caused quite a stir
and second-half repeats are still not as common as I, for one, would like.
Including them dramatically alters the balance of the symphonies of Haydn
and Mozart, at the very least making them grander and more spacious. Manze
and his top-notch orchestra make them very grand and spacious indeed.
Leaving aside old fashions, I have never understood why anyone would want less Mozart.
In other aspects, these performances tread a carefully considered line
between conservative and historically informed. As hinted, despite his
origins in HiP, Manze is no speed merchant in either symphony. For once,
the poor orchestral players are not falling over themselves in the finale
of No.39 at Manze’s sensible tempo. Mercifully, he eschews the now
ubiquitous explosive timpani. The timpani make a positive contribution but
Manze clearly prefers balance to effect, which I think is crucial in
Mozart. Period instruments aren’t used but period performance practice is
judiciously applied. The consistent impression is of tasteful, thought
through decisions made on the basis of the music, not dogma.
My personal preference in both these symphonies has always been Bruno
Walter whose luminous stereo recordings made in America seem to get better
with age as other performances fall out of fashion (Sony –
review). Part of the reason I admire them so much is that Walter refuses to
patronise these works. In his hands, each symphony feels momentous and I
get the same feeling with Manze. Too many modern performances make these
works feel lightweight and small scale (in conception, rather than in size
of orchestra). I seem to be in a definite minority on this but I have
always found Mackerras’ much praised Scottish Chamber Orchestra rather
small-bore (Linn). With Manze, as with Walter, we know we are listening to
great masterpieces. There is nothing ponderous or earnest about this. The
Prague is as combustible as a great performance of Don Giovanni and No.39
glows with an autumnal light.
When I saw the 12:12 running time of the Prague’s slow movement, I will
admit that I did fear longueurs. I had similar initial feelings about the
slow movement of No.40 in the earlier recording, but I was totally and
happily wrong in both instances. Both movements are revealed as needing the
fullest space possible to reveal the grandeur of their design. Despite its
great length, to Manze’s great credit he refuses to rush a thing. He
embarks on the second-half repeat with the same care and poise as he began
the movement. The results speak for themselves.
The finale of the Prague can often seem much ado about nothing when
conductors strain for weight to balance out the two huge movements that
precede it. Manze trusts Mozart’s sublime sense of proportion and lets the
music work its magic. At the risk of sounding overheated, I think this is
the best performance of this particular movement I know.
The first thing to be said about this version of No.39 is how magnificently
the woodwind acquit themselves. Their blend provides a depth to the
orchestral sound that lets the shadows which so often cross this music
register fully. The sublime slow movement is exceptional in this regard,
helped along by Manze’s not too fast, not too slow tempo. He also keeps the
passionate forte passages in proportion to the rest of the music, letting
us know that the almost zen-like canonic music that follows it grows out of
pain. The effect is one of consolation.
As I mentioned earlier, I appreciated the lack of rush in the finale and
the same could be said of the minuet which chugs along with Austrian good
humour and a dash of refinement, whilst the trio sounds like everyone has
kicked off their shoes and pulled up a chair. It is a reminder that Mozart
set out to entertain and keep the attention of easily distracted audiences.
No wonder Salomon wanted him, as well as Haydn, for his London concerts.
Pentatone continue their current run of state-of-the-art recordings and, as
I have indicated, the NDR Radiophilharmonie play like a dream for Manze.
This is wonderful Mozart. Unless you have an absolute need to hear this
music played on period instruments, this is a recording to get.
David McDade
