To Nicholas Harnoncourts many surprising views heard his hypothesis that Mozart's last three symphonies, composed in one fell swoop during the summer of 1788, was a single work that hung together as an instrumental oratorio. What speaks for this is, above all, the first symfonins drafted the introduction and the third symfonins final which in its width far exceeds the other two.
Well, of course, the strange absence of comments from the composer himself about this symphonic outbursts. A silence that can be interpreted as Mozart here went into a visionary project that he lacked the words for.
the conductor Mathieu Herzog and his Ensemble Appassionato now cd debuts with these three symphonies, it is based on similar thoughts as Harnoncourt. But for them, the track is not led to oratorieformen but to the opera, and Mozart's own overture to ”Don Giovanni” which can be seen as a symphonic fantasy, which in a unique way defied the wienklassiska the template. And tolkningsförebilden is rather Bruno Walter than Harnoncourt.
With a colossal energy loaded with loneliness, demoni and furious battle, this ensemble Mozart's last symphonies that sound like three acts in a drama about music pånyttfödande and overcoming force. A close proximity to the Beethoven, which is as shattering as uplifting.
Even for the French pianist Jean-Efflam Bavouzet, who, together with the Manchester Camerata under the direction of Gábor Tacács-Nagy reached until the third volume of Mozart's piano concertos, the opera house is an inspiration. The piano part is a subject, a dramatis personae, in dialogue with the orchestra that are to be tested in different situations and under different circumstances.
chosen in the first three volumes interpret the six concerts (from KV 449 – KV 459), which Mozart wrote in 1784, in the time between ”the Abduction from the seraglio” and ”marriage of Figaro”. An instrumental laboratory for dialogicitet in the music that Bavouzet and the orchestra puts such an incredible light that you completely forget the much larger and more well-known pianokonserterna waiting around the corner.
just Listen to the completely different entrances that the piano makes to get into the action. How it takes the battle directly, or just as well as the fall.
this year completed the violinist Alina Ibragimova and pianist Cédric Tiberghien with their recordings of Mozart's all the violin sonatas on Hyperion. A brilliant feat that already now rivaliseras by Isabelle Faust and Alexander Melnikov, where the latter, unlike Tiberghien playing at a tidstroget pianoforte. And tolkningsskillnaderna compared with the former couple could not have been greater.
the Sonata KV 304 receives a sound that is almost bewitching in their shifts. But at its finest, KV 526, which Mozart composed at the same time with the ”Don Giovanni”. A fabulous play with the baroque style and laws which Faust and Tiberghiens hands culminates in the most astounding musical anarchy.
Best track: Finale (Appassionato), the Allegro at (Bavouzet), Presto (Faust/Tiberghien)
Read more music reviews by Martin Nyström, for example, if This is at least played the opera ”Odysseus ' homecoming”.