Mozart: Symphonies Nos. 35 & 39 [Enhanced]

On this CD:

1. Symphony No. 35 in D major ("Haffner"), K. 385
Composed by Wolfgang Amadeus Mozart
Performed by Lithuanian Chamber Orchestra
Conducted by Georg Mais

2. Symphony No. 39 in E flat major, K. 543
Composed by Wolfgang Amadeus Mozart
Performed by Lithuanian Chamber Orchestra
Conducted by Georg Mais

Mozart: Symphonies Nos. 35 & 39, Music, Wolfgang Amadeus Mozart, Georg Mais, Lithuanian Chamber Orchestra, Chamber Music & Recitals, Classical, Classical Music, Classical Period Symphony, Symphonic

Mozart: Symphonies Nos. 35-41
Average customer rating:

Excellent readings of the last six symphonies...

Radiant performances!

Wonderful Sound Quality and Precision

Other than Bruno Walter's

Efficient interpretations and lovely playing, but there's more to Mozart

Mozart: Symphonies Nos. 35-41

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Tchaikovsky: Symphonies no 4, 5, & 6 / Karajan, Berlin PO

ASIN: B000001GQB
Release Date: 1996-01-23

Tracks:

Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Allegro Con Spirito
Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': (Andante)
Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Menuetto - Trio
Symphonie No. 35 - Dur KV 385 'Haffner Symphonie': Finale. Presto
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Adagio - Allegro Spiritoso
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Andante
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Menuetto - Trio
Symphonie No. 36 - Dur KV 425 'Linzer Symphonie': Presto
Symphonie No. 38 - Dur KV 504 'Prager Symphonie': Adagio - Allegro
Symphonie No. 38 - Dur KV 504 'Prager Symphonie': Andante
Symphonie No. 38 - Dur KV 504 'Prager Symphonie': (Finale.) Presto

Tracks:

Symphonie No. 39 Es-dur KV 543: Adagio - Allegro
Symphonie No. 39 Es-dur KV 543: Andante Con Moto
Symphonie No. 39 Es-dur KV 543: Menuetto. Allegretto - Trio
Symphonie No. 39 Es-dur KV 543: Finale. Allegro
Symphonie No. 40 g-moll KV 550: Molto Allegro
Symphonie No. 40 g-moll KV 550: Andante
Symphonie No. 40 g-moll KV 550: Menuetto. Allegretto - Trio
Symphonie No. 40 g-moll KV 550: Allegro Assai
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Allegro Vivace
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Andante Cantabile
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Menuetto. Allegretto - Trio
Symphonie No. 41 C-Dur KV 551 'Jupiter Symphonie': Molto Allegro

Amazon.com essential recording

Karl Bohm was one of this century's great Mozart conductors--a fact that's apt to be forgotten in the flood of authentic instrument productions, many of them on DG's associated labels. He conducted Mozart with real love and affection, maintaining moderate tempos, allowing each work's gorgeous melodies a chance to sing and breathe. Mozart's symphonic music has its roots in the opera house, and so did Bohm. Listening to the witty woodwind interjections in the finale of Symphony No. 39, for example, you can readily imagine the witty exchanges of different characters in one of Mozart's comic operas. These beautifully recorded versions of Mozart's greatest symphonies belong in the collection of every fan of the composer. --David Hurwitz

Customer Reviews:

Excellent readings of the last six symphonies..........2007-03-09

I was listening to these again last night and I have to say, Bohm knows his Mozart. Then again, so does the Berlin Philharmonic. Bohm always seems to pick the right tempo, never too fast but not too slow either. The perfect example is the opening of the 39th, where Bohm revels in creating a big engulfing sound during the slow introduction; however as soon as the allegro kicks in, tempi and tones have a spring in their step. For me, this is one of the great versions of the 39th, even in spite of a few sloppy moments in the latter movements. He submits an excellent 35th and 36th, again with moderate tempi but wonderfully Mozartean phrasing, somewhat surprising since when Bohm recorded these, "Period Instruments" weren't even a twinkle in Harnoncourt's eye, and "Romantic" readings were all the rage for Mozart. Bohm's steadiness with these interpretations is only matched by his ear for detail; better, say, than Marriner, who is unquestionably steady, but whose readings lack spontenaity, and more consistent than Szell, whose 40th is one of the great readings, but whose 39th falls flat and whose brass/woodwinds can't handle their increased role in the Jupiter symphony.
Considering the age of these recordings (early- to mid-60s), they also sound remarkably clean and clear, and all of the parts can easily be heard; although I would credit Bohm with some of this as he was always excellent at creating space and keeping all of Mozart's many layers exposed to the listener. I have a number of different accounts of Mozart's last six symphonies (Marriner, Bernstein, Karajan, Szell 35, 39-41, Mackerras), but pound for pound, this one is the best. If you still aren't happy with the versions you own, this set may be your stopping point.

Radiant performances!.......2007-02-03

The Symphony No. 41 in C major Kv 551 best known as Jupiter retakes and maintains the most representative epic spirit of Mozart like any one Symphony. It breaths liberty, Dionysian pleasure and that essential rapture so common in the masterpieces. And under Bohm's baton exudates full aristocratic sound.

In spite of the fact it has been recorded so many times, just a few directors have been able to extract and carve in relief the majestic splendor of this K.

On the other hand the version of the 38th Symphony is simply majestic and radiant. Bohm never abuses of excess of elegance and his pristine lyricism may be easily realized.

Karl Bohm was indeed, one of the most representative Ambassadors of the Mozart symphonic repertoire. The Berlin Philharmonic, fortunately still maintained the noble sound inherited from Furtwangler and then Fricsay and that was a decisive fact to his favor.

Wonderful Sound Quality and Precision .......2006-03-24

Precision. That is what comes to my mind when listening to a Karl Bohm interpretation of Mozart. Mozart's final symphonies are ageless masterpieces of music. Anyone can recognize the opening Allegro moto of Symphony No. 40 in G-Minor (one of Mozart's only symphonies in a minor key). Just finding a collection with these wonderful symphonies is a great find.

As to the sound quality, Deutsch Gramophone spent extra time and resources into reissuing these originally analog recordings. It is nice to be able to hear every woodwind in balance and the string sections in their glory. The sound does not seem forced or artificial and the quality is absolutely superb.

These recordings were completed during the height of Bohm's time as a conductor. His interpretations are truly "viennese" in that tempos and structure are very precise and meticulous. Some may think his tempi are slow or plodding, but they offer a very nice interpretation that perhaps was accepted in Mozart's era. The 35th, 39th, and 41st symponies in the set are my favorites.

I would also suggest looking at George Szell's performances with the Cleveland Orchestra, for they offer a different interpretation but are also superb.

Other than Bruno Walter's.......2006-01-21

Columbia SO recordings (NOT with the New York PO) , which are OOP, this Bohm is the one to have, the only one you need actually. As I've heard at least 6 other major conductors, Klemperer , Mackerraas, both Levine's etc etc.
The only 2 I kept are the Walter ,got mine from a used cd dealer in the UK online :-) and the Bohm, complete sym set, which is the way to go for Mozart fans. There's quite a few very good syms in the 1-34.
All that stuff you read about Bohm being a "kapplemiester" (germanic style/cold), old fashioned, tutonic, is very misleading. I hear nothing of the sort and wish these comments would stop.
Though I was forwarned about Bohm being off track in approach with his german orch, I sense there is some anti-german sentiments in these negative comments about Bohm. None of this criticism leveled against Bohm is factual, only a prejudice in their minds.

As to
Details, tempos, instrument quality, sound quality, orch size all are in perfect harmony with Mozart.
. Bohm and the Berlin show forth a understanding of Mozart that none except Walter can rival.
The Klemper/Philharmonia on TESTAMENT, not the EMI release(which are duds) are not too bad, but not in the same category as either Bohm or Walter.
I sat down one day and compred all 3, and concluded the Klemperer were not necessary , for sound issues and also not on par with Bohm's definitive recording.

EDIT: I should mention that i read on a forum recently, he recalled Bohm from his vinyl set that the performances were 'a bit dull". Bohm does not speed read. Any conductor that takes Mozart too fast is doing a disservice to these richly detailed scores. Mozart requires detailed attention, which is what Bohm brings. Yet the life is there, not dull at all.
EDIT on Feb 21/07...
Mackerras' Prague is not in the same league as the Berlin. Many of the soloists in this Berlin use instruments that bring out a chamber flaor, and also Bohm kept the orch smaller than many other orch's. This smaller chamber sound brings more to Mozart than many other recodings I;'ve heard. Even Walter's Columbia is "big sound", yet Walter's does present a "Mozartian" image. Bohm goes even further. Many other like conductors record Mozart with a "Beethovenian" sound. That us large orch/heavy/darker.

Paul Best
Baton Rouge

Efficient interpretations and lovely playing, but there's more to Mozart.......2005-09-25

I can see someone admiring these recordings, since they are very well executed and crisply presented, with no major flaws. And I can see why Mozart was considered one of Karl Bohm's best composers if you like his foursquare, unsmiling approach. Apparently many other listeners and reviewers don't demand more than what this bargain set of the last six symphonies delivers.

But Bohm's traditional Teutonic conducting sounds pretty limited to me, not because of the "authentic" movement now in vogue but because great Mozart conducting must be joyous, light on its feet, and full of wit and alertness. Bohm is brisk and efficient instead. Bruno Walter was born even earlier than Bohm, and yet he got all those things right. That's why I return to him again and again, not to this set, much as I love the Berlin Phil.

Mozart: The Late Symphonies: Nos. 25, 29, 35, 36, 38, 39, 40, 41

Average customer rating:

A good bargain
Great compilation of Mozart!
Good collection
Retrograde Mozart with undeniable heart
Mozart: The Great Late Symphonies

Mozart: The Late Symphonies: Nos. 25, 29, 35, 36, 38, 39, 40, 41

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B0000942LO
Release Date: 2003-07-01

Tracks:

I. Allegro Con Brio
II. Andante
III. Menuetto-Trio
IV. Allegro
I. Allegro Moderato
II. Andante
III. Menuetto-Trio
IV. Allegro Con Spirito
I. Adagio-Allegro
II. Andante
III. Presto

Tracks:

I. Allegro Con Spirito
II. Andante
III. Menuetto-Trio
IV. Presto
I. Molto Allegro
II. Andante
III. Menuetto-Trio
IV. Presto
I. Molto Allegro
II. Andante
III. Menuetto: Allegretto-Trio
IV. Allegro Assai

Tracks:

I. Adagio-Allegro
II. Andante Cantabile
III. Menuetto: Allegretto-Trio
IV. Finale: Allegro
I. Allegro Vivace
II. Andnate Cantabile
III. Menuetto: Allegretto-Trio
IV. Molto Allegro

Customer Reviews:

A good bargain.......2007-07-11

A bargain set, which whilst quirkily performed (in places), is a never-the-less continually entertaining to re-visit.

Great compilation of Mozart!.......2007-01-12

If you want to get the best of Mozart with a fabulous composer than this cd is the one for you. I am not a music critic, just a biology major who studies well listening to these classics -- they really help keep me focused!! Awsome symphonies at a great price -- what could be better?!?!

Good collection.......2006-12-21

I particularly found Symphonies 25 and 40 to be very nice to listen to. The the rest of them I found to be ok, maybe since I am not a big fan of classical music. I bought this cd because I went to a symphony that played Mozart no. 25 which I enjoyed very much. Hence I decided to try out his other compositions.

Retrograde Mozart with undeniable heart.......2005-12-04

Leonard Bernstein thought that every composer was a romantic because he was. These big, heart-on-sleeve performances of Mozart's great late symphonies use the Vienna Phil. at almost full force--they could slip into the Brahms First without adding personnel. Bernstein lived long enough to theoretically be influenced by the period-instrument movement, but his allegiance never shifted. He belongs with Karajan and Bohm as the last conductors for whom Mozart should sound "important."

At its best, this approach yields romantic depth, perhaps not what Mozart intended but valid in its way. I would rather listen to Bernstein's Mozart symphonies than Karajan's (tending to be slick and glossy, although better than reputed) or Bohm's (brisk and faceless). A new listener should know in advance that the slow movements will be expressively drawn out and the minuets often slow and heavy-footed (these dancers are wearing boots). But Bernstein believes in this music, and he is always genuine. That ocunts for a lot with a composer who used to be played as if he were a porcelain doll and is now too often played as if his divine music were written by a Roccoco computer. Four stars.

Mozart: The Great Late Symphonies.......2004-06-16

What a great album we have here. Leonard Bernstein conducts the later symphonies of Mozart, which are considered to be his most mature and his greatest works for full orchestra. This album is worth the price and a treasure to own for your extensive classical music collection. If you appreciate classical music, you'll truly enjoy this album. Everyone knows that Leonar Bernstein ranks among one of the best conductors of the 20th century, right up there with the great names of Herbert Von Karajan, Bruno Walter, Sir Neville Marriner, all who have held their own when it comes to Mozart's music. Karajan I feel is not quite as good when it comes to Mozart's symphonic works. Bruno Walter and Sir Neville Marriner have long surpassed Karajan in the area of Mozart symphonies. Indeed, if you get the chance be sure to check out symphonies conducted by either Bruno Walter or Sir Neville Marriner. Marriner and the Acadamy Of Saint Martin In The Fields did mostly Mozart and provided the music of the 1984 Milos Forman film Amadeus.

The reason this album is so good is Leonard Bernstein conducting. As a conductor and a musically atuned soul, he seems to really interpret these symphonies perfectly. He gets Mozart. He has captured every note, every vibrato, roulade, flowing lines and bouncy but balanced joy in every allegro movement, such as the first movement of the Prague Symphony No. 38. For contrast, he understood the substance and darkness that seems to be written into the Allegro of the Symphony No. 25. The first movement is meant to sound furious, anguished and complex, and fast in a darker sort of mood. It's one of those rare moments in which Mozart foreshadows the Romantic Era that would begin with Beethoven. Mozart would also do this with the andante of his 21st piano concerto and the opening movement of the Piano Concerto No. 20. The last symphonies 40 and 41, "Haffner" and "Jupiter" are regarded as Mozart's most mature works for the symphony. The orchestra is more panoramic and produces a less lighter texture. The music is a fully developed Mozart in his later years. The Jupiter is his grandest. Its name conjures up the vastness of the planet Jupiter or the majesty of the Roman god Jupiter. Get this album if you're a fan of Mozart and a fan of the conductor Leonard Bernstein who aptly conducted the New York Philharmonic for many years and the Berlin Philharmonic towards the end of his life.

Mozart: Symphonies Nos. 35, 40, 41
Average customer rating:

Szell's Mozart Is A Tour-De-Force!

Best recording of #40 and #41 I've ever heard

The good old days

geniales!!

More Mozart! more Mozart!!!

Mozart: Symphonies Nos. 35, 40, 41

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005YNH6
Release Date: 2002-01-29

Tracks:

Symphony No. 35 In D Major, K. 385 'Haffner': I. Allegro Con Spirito
Symphony No. 35 In D Major, K. 385 'Haffner': II. Andante
Symphony No. 35 In D Major, K. 385 'Haffner': III. Menuetto; Trio
Symphony No. 35 In D Major, K. 385 'Haffner': IV. Finale: Presto
Symphony No. 40 In G Minor, K. 550: I. Motto Allegro
Symphony No. 40 In G Minor, K. 550: II. Andante
Symphony No. 40 In G Minor, K. 550: III. Menuetto: Allgretto; Trio
Symphony No. 40 In G Minor, K. 550: IV. Allegro Assai
Symphony No. 41 In C Major, K. 551 'Jupiter': I. Allegro Vivace
Symphony No. 41 In C Major, K. 551 'Jupiter': II. Andante
Symphony No. 41 In C Major, K. 551 'Jupiter': III. Menuetto: Allegretto; Trio
Symphony No. 41 In C Major, K. 551 'Jupiter': IV. Molto Allegro

Customer Reviews:

Szell's Mozart Is A Tour-De-Force!.......2006-11-07

I've been listening to the late Mozart symphonies for years and these Szell recordings continually stand out as some of the finest. Szell beats Marriner, Bernstein, Gardiner and even Karajan most of the time. Szell's Haffner is radiant, one of the finest ever played. His account of the 40th symphony, the famous G Minor is still unsurpassed, the richness and dark emotions of the opening movement are brought out as never before or since. Szell gives off no sentimentality whatsoever and this music sings and flies under his baton. Bernstein and Karajan are easily superseded in the Haffner and G Minor symphonies. The final symphony, number 41, the magnificient Jupiter, one of Mozart's greatest creations and one of the most perfect symphonies ever composed gets a stunning performance. Here the competition is stiffer and you should definitely hear Karajan in the Jupiter, check out his DG 2CD set of the late Mozart symphonies. Other than Karajan, Szell reigns supreme on modern instruments, utilizing the full orchestra.

Szell skips many of the repeats which have become customary these days, the repeats sure can get annoying, it's nice to hear Szell letting the music speak for itself instead of being merely academic. Szell takes the repeat in the opening movement of the Haffner symphony, this is something that recent day conductors don't do since Mozart did not put a repeat sign for this movement. The 40th symphony also gets the all important exposition repeat in it's opening movement, the finale moves along sans repeats. The Jupiter is repeat free in the opening movement and the finale. The finale especially can get very tedious if both halves of it's structure are repeated like in the Bernstein recording.

Basically if you love Mozart played by modern instruments on a full-sized orchestra, I can't recommend Szell's CD enough, it's a classic in every sense, fast, elegant, dramatic and full of charm. You must buy it if you love Mozart.

Best recording of #40 and #41 I've ever heard.......2006-06-10

Straight up, this is the best recording of Mozart's #40 and #41 that I have ever heard. There is so much energy and intensity and it is so refined and beautiful. I particularly like the way they do the last movement of #41--it's amazing. And it's like...#35 on the CD too...bonus!

Szell in general is always good, and...well...this is one of my favorite among all his performances. This is definitely my favorite mozart CD and it is among the most cherished of any CD's in my collection.

The good old days.......2005-01-04

I've heard people say Szell's recordings are lame and uninteresting. I don't see how anyone could believe that, but if you need someone to say it ain't so, here I am. Although these interpretations of these symphonies don't blast out of your speakers the way von Karajan or Bernstein Mozart would, that doesn't mean they're not full-blooded, irresistible recordings nonetheless. What Szell and Cleveland bring to the foray that many of their counterparts lack is their trademark pinpoint precision. You truly can "hear every note"--and in music as transparently structured as Mozart's, where every note is necessary and important, that precision makes the difference between a nice recording and a compelling one. However, there's a surprising amount of passion in these interpretations as well. Given that Szell himself defended his allegedly unemotional Mozart recordings with the sardonic comment "I cannot pour chocolate sauce on asparagus," I find these recordings to be some of the most ardent I've heard; in fact, for as much of a Dohnanyi fan as I am, I daresay this recording of the 40th trumps even that maestro's recording with this same orchestra. The "Haffner" symphony in particular is a real potboiler on this album; I don't think I've ever heard it performed with more gusto--but check out the stentorian minuet of the 40th, or the exhilarating trumpet work throughout the 41st. The bottom line is, you get three of Mozart's finest symphonies packed into one CD at a budget price, which is a bargain on its own--but when the quality of the interpretation is as good as it is here, that bargain becomes an unbelievable value. Even if you already own other recordings of all of these symphonies, this CD should be a necessary addition to your collection. It sure was for me.

geniales!!.......2004-11-09

Mozart escribio estas ùltimas sinfonias y se consagraron sobre las demas, en este CD descubrira porque, el sonido magnifico y la interpretación no tienen parangón.
Szell a cargo de la sinfónica de Cleveland hace que estas sinfonias suenen soberbias, estan energizadas de un vigor y elegancia geniales, son obras de arte musicales en su máxima expresión, no hay que hacer ningun comentario respecto de la 40, es muy conocida y podran disfrutar de una version espectacular, la Nº 41 Jupiter es otra maravilla segunda en el ranking de popularidad Szell hace de ella alcanzar aires de grandeza inigualables, la 35 otra maravilla, la orquesta a plenitud, es genialidad y belleza pura, disfruten de lo mejor de Mozart con los mejores interpretes.

More Mozart! more Mozart!!!.......2003-11-14

I recently purchased this recording and Maestro Szell's recording of the Haydn Symphs. 92, 94, and 96.

I have owned many of the Maestro's recordings from all periods, but his Mozart and Haydn are non-pariel! Why there was never a complete set of Mozart or Haydn symphonies creates a mystery in my mind that will never be solved. Is it the simple cost over what is left for humanity that important? Neville Mariner could come close sometimes but not all of the time, and I mean not really that close.

I am still amazed that there are over two thousand titles for the Berlin and Vienna Philharmonic Orchestras alone, while we have, at least, the top five orchestras in the world still and a paultry discography remains or is being produced. What is wrong with this picture?

One of the former reviewers said something about this disc being a for-runner of 'authentic' period recordings. This may be so, but I haven't heard one yet that even comes close and all of that tinny scratchy noise from these 'experts' sure drives me away. Performance was meant to grow and not be caught up in stasis. Why can't there be 'authenticity' with beautiful string sound and virtuoso brass and winds?

I even love to hear the Maestro hum along or hear him grunt when he starts a hefty section of music. You can imagine how much of this is going on when he and Rudolph Serkin get together. I love it. Total passionate involvement.

The 'Haffner' is absolutely sublime. The first movement of the Fortieth is beyond description and don't I hear the first inkling of cyclical form here in the remaining movements? And the 'Jupiter'--no words can supply what is conveyed. Maybe if Mahler had been alive in Mozart's time this is what he might have composed. That is the closest I can get,

I remember when these recordings came out on 33's. The musical world was absolutely stunned. There had never been Mozart recordings played in such sumptuous, yet crisp and virtuosic manner as this. They still remain the standard, and being recorded in Severance Hall, the sound is still crisp and sumptuous at the same time.

Tracks:

Symphony No. 1 In E Flat Major, K.16: I. Allegro molto
Symphony No. 1 In E Flat Major, K.16: II. Andante
Symphony No. 1 In E Flat Major, K.16: III. Presto
Symphony No. 4 In D Major, K.19: I. Allegro
Symphony No. 4 In D Major, K.19: II. Andante
Symphony No. 4 In D Major, K.19: III. Presto
Symphony In F Major, K.19a-Anh.223: I. Allegro assai
Symphony In F Major, K.19a-Anh.223: II. Andante
Symphony In F Major, K.19a-Anh.223: III. Presto
Symphony No. 5 In B Flat Major, K.22: I. Allegro
Symphony No. 5 In B Flat Major, K.22: II. Andante
Symphony No. 5 In B Flat Major, K.22: III. Allegro molto
Symphony In D Major, K.32: I. Molto allegro
Symphony In D Major, K.32: II. Andante
Symphony In D Major, K.32: III. Menuetto & Trio
Symphony In D Major, K.32: IV. Finale
Symphony In D Major, K.81-K.783l: I. Allegro
Symphony In D Major, K.81-K.783l: II. Andante
Symphony In D Major, K.81-K.783l: III. Allegro molto
Symphony In D Major, K.97-K73m: I. Allegro
Symphony In D Major, K.97-K73m: II. Andante
Symphony In D Major, K.97-K73m: III. Menuetto & Trio
Symphony In D Major, K.97-K73m: IV. Presto

Tracks:

Symphony In D Major, K.95-K73n: I. Allegro
Symphony In D Major, K.95-K73n: II. Andante
Symphony In D Major, K.95-K73n: III. Menuetto & Trio
IV. Presto
Symphony No. 11 In D Major, K.84-K73q: I. Allegro
Symphony No. 11 In D Major, K.84-K73q: II. Andante
III. Allegro
Symphony No. 10 In G Major, K.74: I. Allegro - Andante
Symphony No. 10 In G Major, K.74: II. Rondo (Allegro)
Symphony In D Major, K.87-K74a: I. Allegro
Symphony In D Major, K.87-K74a: II. Andante grazioso
Symphony In D Major, K.87-K74a: III. Presto
Symphony In D Major, K.120-K.111-111a: I. Allegro assai
Symphony In D Major, K.120-K.111-111a: II. Andante grazioso
Symphony In D Major, K.120-K.111-111a: III. Presto
Symphony In C Major, K.96-K.111b: I. Allegro
Symphony In C Major, K.96-K.111b: II. Andante
Symphony In C Major, K.96-K.111b: III. Menuetto & Trio
Symphony In C Major, K.96-K.111b: IV. Allegro molto
Symphony No. 13 In F Major, K.112: I. Allegro
Symphony No. 13 In F Major, K.112: II. Andante
Symphony No. 13 In F Major, K.112: III. Menuetto & Trio
Symphony No. 13 In F Major, K.112: IV. Allegro molto

Tracks:

Symphony In C Major, K.35: Sinfonia: Allegro
Symphony In D Major, K.38: Intrada: Allegro
Symphony In D Major, K.200-K62a: I. Serenata: Allegro
Symphony In D Major, K.200-K62a: II. Menuetto &Trio
Symphony In D Major, K.200-K62a: III. Andante
Symphony In D Major, K.200-K62a: IV. Menuetto & Trio
Symphony In D Major, K.200-K62a: V. Allegro
Symphony No. 9 In C Major, K.73: I. Allegro
Symphony No. 9 In C Major, K.73: II. Andante
Symphony No. 9 In C Major, K.73: III. Menuetto & Trio
Symphony No. 9 In C Major, K.73: IV. Allegro molto
Symphony In D Minor, K.118-K74c: Overture: Allegro - Andante - Presto
Symphony In F Major, K.75: I. Allegro
Symphony In F Major, K.75: II. Menuetto & Trio
Symphony In F Major, K.75: III. Andantino
Symphony In F Major, K.75: IV. Allegro
Symphony No. 12 In G Major, K.110-K75b: I. Allegro
Symphony No. 12 In G Major, K.110-K75b: II. Andante
Symphony No. 12 In G Major, K.110-K75b: III. Menueto & Trio
Symphony No. 12 In G Major, K.110-K75b: IV. Allegro

Tracks:

Symphony No. 14 In A Major, K.114: I. Allegro moderato
Symphony No. 14 In A Major, K.114: II. Andante
Symphony No. 14 In A Major, K.114: III. Menuetto & Trio
Symphony No. 14 In A Major, K.114: IV. Molto allegro
Symphony No. 14 In A Major, K.114: V. Anhang: Menuett K.61g
Symphony No. 15 In G Major, K.124: I. Allegro
Symphony No. 15 In G Major, K.124: II. Andante
Symphony No. 15 In G Major, K.124: III. Menuetto & Trio
Symphony No. 15 In G Major, K.124: IV. Presto
Symphony No. 16 In C Major, K.128: I. Allegro maestoso
Symphony No. 16 In C Major, K.128: II. Andante grazioso
Symphony No. 16 In C Major, K.128: III. Allegro
Symphony No. 17 In G Major, K.129: I. Allegro
Symphony No. 17 In G Major, K.129: II. Andante
Symphony No. 17 In G Major, K.129: III. Allegro

Tracks:

Symphony No. 18 In F Major, K.130: I. Allegro
Symphony No. 18 In F Major, K.130: II. Andantino grazioso
Symphony No. 18 In F Major, K.130: III. Menuetto & Trio
Symphony No. 18 In F Major, K.130: IV. Molto allegro
Symphony No. 19 In E Flat Major, K.132: I. Allegro
Symphony No. 19 In E Flat Major, K.132: II. Andante
Symphony No. 19 In E Flat Major, K.132: III. Menuetto & Trio
Symphony No. 19 In E Flat Major, K.132: IV. Allegro
Symphony No. 19 In E Flat Major, K.132: Anhang: Andantino grazioso (substitute slow movement)
Symphony In D Major, K.185-K167a: I. Allegro assai
Symphony In D Major, K.185-K167a: II. Andante grazioso
Symphony In D Major, K.185-K.167a: III. Menuetto & Trio
Symphony In D Major, K.185-K167a: IV. Adagio - Allegro assai

Tracks:

Symphony No. 20 In D Major, K 133: I. Allegro
Symphony No. 20 In D Major, K 133: II. Andante
Symphony No. 20 In D Major, K 133: III. Menuetto And Trio
Symphony No. 20 In D Major, K 133: IV. Allegro
Symphony No. 21 In A Major, K 134: I. Allegro
Symphony No. 21 In A Major, K 134: II. Andante
Symphony No. 21 In A Major, K 134: III. Menuetto And Trio
Symphony No. 21 In A Major, K 134: IV. Allegro
Symphony In D Major, K 135: I. Molto allegro
Symphony In D Major, K 135: II. Andante
Symphony In D Major, K 135: III. Molto allegro
Symphony In D Major, K 161 - K 163 - K 141a: I. Allegro moderato
Symphony In D Major, K 161 - K 163 - K 141a: II. Andante
Symphony In D Major, K 161 - K 163 - K141a: III. Presto

Tracks:

Symphony No. 26 In E Flat Major, K 184 , K 161a: Molto presto - Andante - Allegro
Symphony No. 27 In G Major, K 199 , K 161b: I. Allegro
Symphony No. 27 In G Major, K 199 , K 161b: II. Andantino grazioso
Symphony No. 27 In G Major, K 199 , K 161b: III. Presto
Symphony No. 22 In C Major, K 162: I. Allegro assai
Symphony No. 22 In C Major, K 162: II. Andantino grazioso
Presto assai
Symphony In D Major, K 181, K 162b: I. Allegro spiritoso
Symphony In D Major, K 181, K 162b: II. Andantino grazioso
Symphony No. 24 In B Flat Major, K 181, K 162b: III. Presto assai
Symphony No. 24 In B Flat Major, K 182, K 173dA: I. Allegro spiritoso
Symphony No. 24 In B Flat Major, K 182, K 173dA: II. Andantino grazioso
Symphony No. 24 In B Flat Major, K 182, K 173dA: III. Allegro

Tracks:

Symphony No. 25 In G Minor, K 183, K 173dB: I. Allegro con brio
Symphony No. 25 In G Minor, K 183, K 173dB: II. Andante
Symphony No. 25 In G Minor, K 183, K 173dB: III. Menuetto And Trio
Symphony No. 25 In G Minor, K 183, K 173 dB: IV. Allegro
Symphony No. 29 In A Major, K 201, K 186a: I. Allegro moderato
Symphony No. 29 In A Major, K 201, K 186a: II. Andante
Symphony No. 29 In A Major, K 201, K 186a: III. Menuetto And Trio
Symphony No. 29 In A Major, K 201, K 186a: IV. Allegro con spirito

Tracks:

Symphony No. 30 In D Major, K 202 , K 186b: I. Molto allegro
Symphony No. 30 In D Major, K 202, K 186b: II. Andantino con moto
Symphony No. 30 In D Major, K 202, K 186b: III. Menuetto And Trio
Symphony No. 30 In D Major, K 202, K 186b: IV. Presto
Symphony In D Major, K 203, K 189b: I. Andante maetoso - Allegro assai
Symphony In D Major, K 203, K 189b: II. Andante
Symphony In D Major, K 203, K 189b: III. Menuetto And Trio
Symphony In D Major, K 203, K 189b: IV. Prestissimo

Tracks:

Symphony No. 28 In C Major, K 200, K 189k: I. Allegro spriritoso
Symphony No. 28 In C Major, K 200, K 189k: II. Andante
Symphony No. 29 In C Major, K 200, K 189k: III. Menuetto (Allegretto) And Trio
Symphony No. 28 In C Major, K 200, K 189k: IV. Presto
Symphony In D Major, K 121, K 207a: I. Allego molto
Symphony In D Major,K 121, K 207a: II. Andante grazioso
Symphony In D Major, K 121, K 207a: III. Allegro
Symphony In D Majr, K 204,K 213a: I. Allegro assai
Symphony In D Major, K 204, K 213a: II. Andante
Symphony In D Major, K 204, K 213a: III. Menuetto And Trio
Symphony In D Major, K 204, K 213a: IV. Andantino grazioso - Allegro

Tracks:

Symphony In C Major, K 208, K 213c: I. Molto allegro
Symphony In C Major, K 208, K 213c: II. Andantino
Symphony In C Major, K 208, K 213c: III. Presto assai
Symphony In D Jaor, K 250, K 249b (Haffner Serernade): I. Allegro maestoso - Allegro molto
Symphony In D Major, K 250, K 248b (Haffner Serenade): II. Menuetto galante And Trio
Symphony In D Major, K 250, K 248b (Haffner Serenade): III. Andante
Symphony In D Major, K 250, K 248b (Haffner Serenade): IV. Menuetto And 2 Trios
Symphony In D Major, K 250, K 248b (Haffner Serenade): V. Adagio - Allegro assai
Symphony No. 32 In G Major, K 318: I. Allegro spiritoso
Symphony No. 32 In G Major, K 318: II. Andante
Symphony No. 32 In G Majaor, K 318: III. Tempo primo

Tracks:

Symphony No. 33 In B Flat Major, K 319: I. Allegro assai
Symphony No. 33 In B Flat Major, K 319: II. Andante moderato
Symphony No. 33 In B Flat Major, K 319: III. Menuetto And Trio
Symphony No. 33 In B Flat Major, K 319: IV. Allegro assai
Symphony In D Major, K 320 (Posthorn Serenade): I. Adagio maestoso - Allegro con spirito
Symphony In D Major, K 320 (Posthorn Serenade): II. Andantino
Symphony In D Major, K 320 (Posthorn Serenade): III. Presto
Symphony No. 34 In C Major, K 338: I. Allegro vivace
Symphony No. 34 In C Major, K 338: II. Andante di molto piu tosto allegretto
Symphony No. 34 In C Major, K 338: III. Allegro vivace

Tracks:

March In D Major, K 408, No. 2, K 385a
Symphony No. 35 In D Major, 'Haffner' (First Version), K 385: I. Allegro con spirito
Symphony No. 25 In D Major, 'Haffner' (First Version), K 385: II. Andante
Symphony No. 35 In D Major, 'Haffner' (First Version), K 385: III. Menuetto And Trio
Symphony No. 35 In D Major, 'Haffner' (First Version), K 385: IV. Presto
Symphony No. 36 In Major, 'Linz', K 425: I. Adagio - Allegro spiritoso
Symphony No. 36 In C Major, 'Linz', K 425: II. Andante
Symphony No. 36 In C Major, 'Linz', K425: III. Menuetto And Trio
Symphony No. 36 In C Major, 'Linz', K 425: IV. Presto

Tracks:

Symphony No. 31In D Major, 'Paris' (First Version), K 297, K 300a: I. Allegro vivace
Symphony No. 31 In D Major, 'Paris' (First Version), K 297, K 300a: II. Andante
Symphony No. 31 In D Major, 'Paris' (First Version), K 297, K 300a: III. Allegro
Symphony No. 35 In D Major, 'Haffner' (Second Version), K 385: I. Allegro con spirito
Symphony No. 35 In D Major, 'Haffner' (Second Version), K 385: II. (Andante)
Symphony No. 35 In D Major, 'Haffner' (Second Version), K 385: III. Menuetto And Trio
Symphony No. 35 In D Major, 'Haffner' (Second Version), K 385: IV. Finale (Presto)
Symphony No. 38 In D Major, 'Prague', K 504: I. Adagio - Allegro
Symphony No. 38 In D Major, 'Prague', K 504: II. Andante
Symphony No. 38 In D Major, 'Prague', K504: III. Presto

Tracks:

Symphony No. 39 In E Flat Major, K 543: I. Adagio - Allegro
Symphony No. 39 In E Flat Major, K 543: II. Andante con moto
Symphony No. 39 In E Flat Major, K 543: III. Menuetto And Trio (Allegretto)
Symphony No. 39 In E Flat Major, K 543: IV. Finale (Allegro)
Symphony No. 40 In G Minor (First Version), K 550: I. Molto allegro
Symphony No. 40 In G Minor (First Version), K 550: II. Andante
Symphony No. 40 In G Minor (First Version), K 550: III. Menuetto And Trio (Allegretto)
Symphony No. 40 In G Minor (First Version), K 550: IV. Allegro assai

Tracks:

Symphony No. 31 In D Major, 'Paris' (Second Version), K 297, K 300a: I. Allegro assai
Symphony No. 31 In D Major, 'Paris' (Second Version), K 297, K 300a: II. Andante
Symphony No. 31 In D Major, 'Paris' (Second Version), K 297, K 300a: III. Allegro
Symphony No. 41 In C Major, 'Jupiter', K 551: I. Allegro vivace
Symphony No. 41 In C Major, 'Jupiter', K 551: II. Andante cantabile
Symphony No. 41 In C Major, 'Jupiter', K 551: III. Menuetto And Trio (Allegretto)
Symphony No. 41 In C Major, 'Jupiter', K 551: IV. Molto allegro

Tracks:

Symphony In A Minor, 'Odense', K 16a, Anh. 220: I. Allegro moderato
Symphony In A Minor, 'Odense', K 16a, Anh. 220: II. Andantino
Symphony In A Minor, 'Odense', K 16a, Anh. 220: III. Rondo: Allegro moderato
Symphony In G Major, 'Alte Lambach', K 45a, Anh. 221: I. Allegro maestoso
Symphony In G Major, 'Alte Lambach', K 45a, Anh. 221: II. Andante
Symphony In G Major, 'Alte Lambach', K 45a, Anh. 221: III. Molto allegro
Symphony In F Major, K 76, K 42a: I. Allegro maestoso
Symphony In F Major, K 76, K 42a: II. Andante
Symphony In F Major, K 76, K 42a: III. Menuetto And Trio
Symphony In F Major, K 76, K 42a: IV. Allegro
Symphony No. 6 In F Major, K 43: I. Allegro
Symphony No. 6 In F Major, K 43: II. Andante
Symphony No. 6 In F Major, K 43: III. Menuetto And Trio
Symphony No. 6 In F Major, K 43: IV. Allegro

Tracks:

Symphony In G Major, 'Neue Lambach': I. Allegro
Symphony In G Major, 'Neue Lambach': II. Andante un poco allegretto
Symphony In G Major, 'Neue Lambach': III. Menuetto And Trio
Symphony In G Major, 'Neue Lambach': IV. Allegro
Symphony No. 7 In D Major, K 45: I. Allegro
Symphony No. 7 In D Major, K 45: II. Andante
Symphony No. 7 In D Major, K 45: III. Menuetto And Trio
Symphony No. 7 In D Major, K 45: IV. Finale
Symphony In B Flat Major, K 45b, Anh. 214: I. Allegro
Symphony In B Flat Major, K 45b, Anh. 214: II. Andante
Symphony In B Flat Major, K 45b, Anh. 214: III. Menuetto And Trio
Symphony In B Flat Major, K 45b, Anh. 214: IV. Allegro
Symphony In D Major, K 51, K 46a: I. Molto allegro
Symphony In D Major, K 51, K 46a: II. Andante
Symphony In D Major, K 51, K 46a: III. Molto allegro
Symphony No. 8 In D Major, K 48: I. Allegro
Symphony No. 8 In D Major, K 48: II. Andante
Symphony No. 8 In D Major, K 48: III. Menuetto And Trio
Symphony No. 8 In D Major, K 48: IV. Allegro

Tracks:

Symphony In B Flat Major, Anh. C11.03, Anh. 216, K 3 - 74g: I. Allegro
Symphony In B Flat Major, Anh. C11.03, Anh. 216, K 3 - 74g: II. Andante
Symphony In B Flat Major, Anh. C11.03, Anh. 216, K 3 - 74g: III. Menuetto And Trio
Symphony In B Flat Major, Anh. C11.03, Anh. 215, K 3 - 74g: IV. Allegro molto
Symphony No. 37 In G Major, K 444, K 425a, Anh. A53: Mvts II And III By Michael Haydn: I. Adagio maestoso - Allegro con spirito
Symphony No. 37 In G Major, K 444, K 425a, Anh. A53: Mvts II And III By Michael Haydn: II. Andante sostenuto
Symphony No. 37 In G Major, K 444, K 425a, Anh. A53: Mvts II And III By Michael Haydn: III. Finale (Allegro molto)
Symphony No. 40 In G Minor (Second Version), K 550: I. Molto allegro
Symphony No. 40 In G Minor (Second Version), K 550: II. Andante
Symphony No. 40 In G Minor (Second Version), K 550: III. Menuetto And Trio (Allegretto)
Symphony No. 40 In G Minor (Second Version), K 550: IV. Allegro assai

Amazon.com essential recording

This was the set that really got the "authentic instrument" craze going. It was a big, ambitious project that promised a fresh look at familiar music, as well as lots of exciting new discoveries. Christopher Hogwood tailored his forces to match what we know of the actual size and constitution of the orchestras of the period, and since Mozart wrote symphonies in every country in Europe, including England, France, Italy, Germany, Austria and Czechoslovakia, the result is practically a blueprint of 18th-century orchestral practice. Then everyone else got into the act, and these performances sort of fell off the musical map. Listening to them again, one finds they hold up rather well. There's still the sense of discovery, and of course the music itself is glorious. At budget price, this is history in sound. --David Hurwitz

Customer Reviews:

The original, original instrument take.......2007-05-03

A few months ago I bought the Trevor Pinnock Mozart Complete Symphonies (11 cds) and the 250th Anniversary Edition Mozart Symphonies (8 cds) that is not quite a complete symphony cycle. The Anniversary Edition features Harnoncourt on about 5 of the 8 discs. I also have his two CD twofers that cover the early symphonies. So, I more or less ended up with two complete renditions of Mozart's symphonies. I first bought the Harnoncourt early symphony 2fer and enjoyed it enough to buy volume two. This led me to buy the 250 Anniversay 8 cd set. I have not in the least regretted these purchases!

Harnoncourt is the most radical of these three original instrument takes on Mozart, especially in the late symphonies. For example, listen to symphony 29 by each of these three sets and compare them to the Karl Bohm benchmark 29th. Harnoncourt is Ricky Racer and Bohm is Mr. Serene and Majestic.

Obviously, price is only one of the factors in buying. The AAM costs more but has almost twice the music. The AAM set is probably the more collectable since they got there first. This set was issued in multiple lp boxes way back when and I recently watched just one of these boxes, unopened, go for over 80 bucks at EBAY.

There really is quite a sound difference between modern and original instruments. Rhapsody has the Mozart Horn Concertos posted by the AAM using an apparently valveless horn. Listen to this very squeaky rendition and compare it to Brain's to get a feel for the difference. They also have the Philips Complete Mozart Piano Concerto box that features a pianoforte on disc one of concertos 1 to 4. This instrument sounds more like a harpsichord than a piano and took some adjusting to get used to. The Smithsonian put out on vinyl (circa 1980) The Six Brandenburg Concerti by Bach on original instruments. The booklet gives quite a bit of info on the differences in instruments between modern and original. Here are a few snippets: "The brass instruments were, until the 19th century, valveless." This reduced the number of notes available. "The wind instruments of Bach's time had few keys--the transverse flute had one, the oboe two or three, and the bassoon three--calling for contrived fingerings to cover the full chromatic scale." "The music produced by a Baroque bow is characteristically tapered in shape, with great potential for a lively distinction between notes."

The bottom line for me is that Mozart, when well played, conducted, and recorded, sounds great--be it original instruments or modern. Having both modern and original choices is great. Life is wonderful with changes in flavor. I have only listened once to the AAM Mozart symphonies and have not done a compare and contrast between these and Pinnock's, etc. I was impressed by the consistency in performance and that being very good. It is really quite a feat to put out 19 cds and have them sound great from stem to stern. As an ADD recording, these give the DDDs a run for the money. The AAM Mozart Symphony cycle is posted at Rhapsody so you can look before you leap if you are in the market.

The most complete set of Mozart symphonies ever recorded.......2006-08-10

This massive 19 CD collection contains 71 symphonies!

Yes, all 41 of the usual symphonies are here, but another 27 symphonic works are presented, as well as alternative versions of symphonies Nos. 31, 35 & 40. The works are all recorded on period instruments (or modern copies of 18th century instruments) and the orchestra is accompanied throughout by harpsichord continuo. The sounds of the various sections of the orchestra are full of colour and character - the wind and brass players, in particular, make this set such a delightful one.

I also have the Pinnock recording, which contains only the standard 41 symphonies and it is every bit as good. I can really make up my mind which I prefer, although Pinnock's reading of symphony No. 40 is sublime - particularly in the beautiful slow movement. However, Hogwood and his Academy of Ancient Music play almost all these symphonies with great gusto and style. As another reviewer said, Hogwood allows his musicians to simply play the music and let Mozart's music live in a natural and "organic" way, with minimal interference from the conductor.

Each work tells a story and the recordings of these works remind us of the fact that Mozart wasn't some sort of proto-Beethoven, rather, his music was more like the culmination of many 18th century currents, trends and ideas - "Baroque music on steroids", even! ;-))

This is a set which is very close to my heart and I consider it one of the treasures in my home. I return to it often - at any time of the day or night.

Indispensable .......2004-11-13

This set is indispensable for anyone who seriously wants to have a complete Mozart collection. It contains every symphonic work written by Mozart, including second versions of certain late symphonies.

The playing is "alive" and fresh, the sound is full, warm and clear. What you get is not Hogwood's "interpretation"...but music and just the music, this guy understands Mozart and just lets these musicians play with joy, spontaneity, meaning and feeling. I didn't think they would be so good! There are times when you don't even notice that they're playing on period instruments.

This set is completely satisfying and I'm glad I own it. It's a pricy box set, but totally worth it...try to find it used and bask in the glory of Mozart.

Ok, but...........2004-06-30

I will qualify this review by saying that I have not by any means listened to every single symphony on this recording. I listened to several of the symphonies from this set for a conducting class, and spent a considerable amount of time comparing them with other recordings for phrase structure, dynamics, etc. My conclusion:

Overall, I am personally just not impressed by Hogwood. His handling of the phrases is rough, and the music just doesn't seem polished. Occasionally the balance is questionable (for example, several clarinet passages in the first movement of the 39th stick out), and at other points I get the impression that he put little planning into the organization of strong and weak bars. Perhaps it is mostly personal preference, but other conductors really do sound better.

I think that this recording has its place, as there are few boxed sets of all of Mozart's symphonies available, and certainly there was some groundbreaking period instrument work here. I would, however, strongly recommend that anyone considering purchasing this set actually obtain a copy first from a library to decide if this is really what they want.

A milestone set, and worthy of all praise.......2004-04-29

In the 1970s, the Hungarian conductor Antal Dorati recorded all of the 104 symphonies of Franz Joseph Haydn (Amazon asin # B0000042DP). The era of "epic" integral collections was ignited. Many thought the vast majority of Haydn's symphonies would be boring, cookie-cutter works rolled out in almost assembly-line fashion. But Dorati, with excellent help from the Haydn scholar H. C. Robbins Landon, would disprove all of that, and show that there is not a dud in the whole collection. And Dorati's readings have stood the test of time.

Dorati's achievement marked the beginning of an ea that in the next 2 decades would see complete integral sets of the works of every major composer, culminating ultimately in the 1980s with Phiips complete Mozart Edition.

Shortly after Dorati finished his massive project, the Academy of Ancient Music embarked on a complete traversal of all of the "symphonies" of Mozart on period instruments, the currently reviewed item. Not just the traditional 41, but also many lesser know works. More fascinating music was unearthed. But, the milestone of this set is not the discovery of forgotten masterpieces. That had become a common daily occurence. It was the period instrument movement instead that was set free by Hogwood's achievement. With this project, Hogwood did for period instruments what Dorati did for integral cycles of lesser known works. The period instrument movement had been around for a long time. But it never quite could hit "mainstream" until Hogwood made these recordings. And ever since, period instruments have flourished.

There are better recordings of many of the works in this set, both on period instruments and conventional instruments. But the consistency that runs through the set brings an appreciation for Mozart's Symphonies that is unparallelled.

Tracks:

Symphony No. 25 In G Minor, K. 183 (173dB): I. Allegro con brio
Symphony No. 25 In G Minor, K. 183 (173dB): II. Andante
Symphony No. 25 In G Minor, K. 183 (173dB): III. Menuetto-Trio
Symphony No. 25 In G Minor, K. 183 (173dB): IV. Allegro
Symphony No. 28 In C Major, K. 200 (189K): I. Allegro spiritoso
Symphony No. 28 In C Major, K. 200 (189K): II. Andante
Symphony No. 28 In C Major, K. 200 (189K): III. Menuetto. Allegretto-Trio
Symphony No. 28 In C Major, K. 200 (189K): IV. Presto
Symphony No. 29 In A Major, K. 201 (186a): I. Allegro moderato
Symphony No. 29 In A Major, K. 201 (186a): II. Andante
Symphony No. 29 In A Major, K. 201 (186a): III. Menuetto-Trio
Symphony No. 29 In A Major, K. 201 (186a): IV. Allegro con spirito
Symphony No. 35 In D Major, K. 385 'Haffner': I. Allegro con spirito
Symphony No. 35 In D Major, K. 385 'Haffner': II. Andante
Symphony No. 35 In D Major, K. 385 'Haffner': III. Menuetto-Trio
Symphony No. 35 In D Major, K. 385 'Haffner': IV. Finale. Presto

Amazon.com

For an entire generation of Mozart lovers, Walter's interpretations were the ultimate in sophistication and elegance, and so they remain. They still sound totally natural and inevitable, with a breadth of phrasing and very human warmth that points up the vocal nature of Mozart's melodic inspiration. Although the mono sound has dated, these performances are like old friends, and you'll welcome them in your collection. --David Hurwitz

Customer Reviews:

I think more highly of Walter's New York Mozart than some..........2007-06-30

I think more highly of Bruno Walter's New York Philharmonic Mozart Symphonies than some, and I bought these discs when they came on the US market in 1996. True, they are MONO, and sometimes the sound is a little fierce and cramped, but generally the sound is very good, there is no tape wow or flutter to create an unpleasant sound, and the New York Philharmonic play with great precision under Walter's leadership. These were recorded in 1953-54, just before stereo recordings were being widely made and marketed. If you want to hear Walter conducting Mozart 25, 28, or 29, this is the only game in existence. Sony's engineers have done an excellent remastering job.

Walter also recorded Mozart Symphonies 35, 36, 38, 39, 40 and 41 with the Columbia Symphony Orchestra, Los Angeles, made up of freelance studio musicians and some members of the Los Angeles Philharmonic, in 1959/60, in stereo. Walter's Los Angeles cycle is more difficult to find as I write this, but perhaps SonyBMG will reissue it.

Walter's tempos are generally faster in New York than they would be later on in Los Angeles, but either way he gives us great Mozart: loving and affectionate, and very sensitive to line and phrase. Bruno Walter (1876-1962) was one of the great Mozart conductors, along with Thomas Beecham, Karl Bohm, Otto Klemperer, and George Szell. Recommended enthusiastically.

Breathtaking Mozart from Walter in New York.......2006-03-15

Bruno Walter was a Mozart specialist and heir to the Viennese performance tradition (he was born less than a century after Mozart's death). These mono recordings date from 1954 (Sym. #25, 28, 29) and 1953 (Sym. #35), recorded in excellent sound for their era thanks to the location at Columbia's 30th St. studio. Fitting four symphonies on a single 73 min. CD requires an absence of repeats and almost no pause between movements--the latter is a bit disconcerting at first.

Walter's tempos are much less relaxed than in his classic stereo readings from his last years in Hollywood. That period produced great Mozazrt recordings, too, but one feels extra vigor and alertness in the earlier recordings, and the playing from the NY Phil. is a notch more expert and vivacious than what we get from the Columbia Symphony. Anyone familiar with Walter's image as a mellow, fuzzy conductor will be surprised at how vital these readings are--the opening allegro of the "little G minor" Sym. 25 is breathtaking, not simply for being fast but for its inner life and intensity. These qualities hold good throughout. To modern ears the minuets are a bit lumpy and the slow movements overly romantic, but within those limits these are timeless interpretations, one of the glories of Walter's discography.

Magnificent Mozart that helps set Walter's reputation straight.......2006-02-26

Bruno Walter is of course the conductor of genteel Mozart, with thick billowing clouds of sound and a large rotund character. Don't look for depth in Walter; look for the jovial character of easy Viennese living. For the guts and grit, you have to go to HIP performances, because they dig under the grace and get to the fire, right? Right?

Well, like many myths, this one is debunked when one looks a little deeper. Actually, you don't have to look much deeper at all. This recording alone should persuade anyone that Walter could deliver deeper, more demonic Mozart than is commonly believed. This is because most of Walter's recordings known to us today are from his stereo period, right before he died. Indeed in his last years he was mellower and less spontaneous.

But in these and other earlier readings, we have a door to a Walter many people today aren't familiar with--slashing accents, brisk tempi, a sound that, while certainly not thin, is lithe and agile. Just listen to the opening movement of No. 29, for example--the strings practically leap up and down with excitement, and the phrasing is supple and animated in a way you rarely hear today--the Columbia Symphony Orchestra practically sounds Viennese! Slow movements in this set are deep and serene, with a naturalness of phrasing modern ensembles can't match. More noteworthy, however, is the dark side in many of these recordings, such as the "little" G minor symphony. This is not the type of temperment you'd expect from the genial old man we've all come to know, but it was there. And who cares if these recordings are "correct" or not. Today's scholarship will change in 40 years too, and many of today's Gardiner and Hogwood recordings will be looked upon as relics someday.

Sony has made things a bit confusing here. Over time they have released both Walter's later stereo Columbia Mozart readings and these earlier mono recordings, several different ways. You may think you already have "these" recordings, only to find you have one set but not the other. If I could have only one, it would be the earlier, mono recordings. Sure the sound isn't quite as good (though it's very good in general) and sure, repeats are skipped--repeat-skipping was the norm of the day. Of the later stereo recordings, only No. 35 compares with, and probably even surpasses, this reading for grandeur and nobility.

There are other Sony recordings in this series of Walter's mono Mozart symphonies, including one fascinating disc where he rehearses the entire Linz symphony bar for bar. I highly recommend them all. But if you are confronted with a choice between these mono performances and the later stereo recordings in better sound (and not all that much better, actually, save they are in stereo), I'd recommend you choose these in a heartbeat. And be prepared for some passionate Mozart playing you rarely hear in this Mozart-is-good-for-your-brain age.

Vintage Mozart!.......2002-07-27

Despite the poor rating by a few of other reviewers I went ahead and bought this GEM.These are quite simply among the finest performances of these delightful symphonies.The sound quality,being a mono recording,is below par(that is why 4 stars)but still is quite serviceable.Now let us come to the performances-Symphony no25 opens enegetically with a nice rhythmic thrust and dash and the strings are outstanding.The slow movement that follows is a caressing reverie with a tinge of regret beautifully shaped.the third movement,a minuet starts on a bright note with the strings playing a nice rhthmic Theme leading to a celestial Oboe theme taken up by the woodwinds.The Legendary Walter's signature is quite in evidence,in that he does not miss to point to some of these inner voices which would normally get drowned in other breezy performances by lesser conductors.The final movement is given a good thrust and the Symphony comes to a triumphant finish.
The other symphonies (nos 28,29 and 35)are simply outstanding.I need not go into their virtues.Suffice it to say that Bruno walter was one of the greatest conductors of Mozart,besides Karl Bohm and Peter Maag.I also wish to draw attention to the other Great Performances of Bruno Walter of the Mozart Symphonies nos 36and 38,39,40,41.Also listen to Walter's Eine Kleine Nacht Music and other overtures.They are all peerless readings.Just what is so special about them?I will quote the Great Maestro"My task in performing Mozart had become clear to me:Every characteristic and truthful detail must be given powerful dramatic expression without impairing the vocal and orchestral beauty.This beauty permitted no exaggeration in Dynamics and Tempo....The problem therefore consisted in achieving all fulness of expression within the limits prescribed by beauty and in resolutely filling that beauty with musical and Dramatic Power without putting an earthly burden upon its unearthly lightness".
I have other recordings of these pieces ,some of the modern recordings including Barry Wordsworth(Very Good performances)on the Naxos Label.Yet Walter's Mozart has a magic all its own and that is what plays on my CD player most of the time!
I strongly recommend that you give yourself a Nice Treat!

Definitive Reading. Some reservations though........2002-02-07

For the listener accustomed to Bruno Walter's CBS/Sony recordings, the sonic qualities of this disc may disappoint.
These recordings, made in New York some 7-8 years before Walter's landmark recordings with the Columbia Symphony Orchestra in Hollywood, are not up to the same recording quality of the later discs.

On interprative grounds these recordings are worthy of note for the serious collector of Mozart or Bruno Walter recordings. Walter's approach is distinctive and these recordings would complement other definitive readings of these works such as Mackerras/Prague CO, or Karajan/VPO (No. 35), or Szell/Cleveland (No. 35). The mono recordings, though not as warm as they could be, offer an ample sound and good detail.

Tracks:

Symphony No. 28 in C Major, K. 200 (189k); I. Allegro spiritoso
Symphony No. 28 in C Major, K. 200 (189k); II. Andante
Symphony No. 28 in C Major, K. 200 (189k); III. Menuetto. Allegretto -Trio
Symphony No. 28 in C Major, K. 200 (189k); IV. Presto
Symphony No. 33 in B-Flat Major, K. 319; I. Allegro assai
Symphony No. 33 in B-Flat Major, K. 319; II. Andante moderato
Symphony No. 33 in B-Flat Major, K. 319; III. Menuetto - Trio
Symphony No. 33 in B-Flat Major, K. 319; IV. Finale. Allegro assai
Symphony No. 35 in D Major, K. 385 "Haffner"; I. Allegro con spirito
Symphony No. 35 in D Major, K. 385 "Haffner"; II. Andante
Symphony No. 35 in D Major, K. 385 "Haffner"; III. Menuetto - Trio
Symphony No. 35 in D Major, K. 385 "Haffner"; IV. Finale. Presto
Serenade in G Major, K. 525 "Eine kleine Nachtmusik"; I. Allegro
Serenade in G Major, K. 525 "Eine kleine Nachtmusik"; II. Romance. Andante
Serenade in G Major, K. 525 "Eine kleine Nachtmusik"; III. Menuetto. Allegretto - Trio
Serenade in G Major, K. 525 "Eine kleine Nachtmusik"; IV. Rondo. Allegro
Overture to the Marriage of Figaro, K. 492

Customer Reviews:

Timeless; and a good value.......2007-03-07

When you go back to Mozart recordings contemporary with these, you'll be struck by how slow and heavy they are. Szell's performances are not part of this time or ahead of their time, but rather, timeless. This is it, just the music. It's not about Szell, other than his will to put forth the music.
This recording is a real sleeper, with a couple of relatively unknown symphonies, a very well known symphony, an incredibly well known piece, and a piece so well known that it is a television commercial.
The ONLY extremely minor quibble I have is that Szell didn't take more repeats, so that we could live in Mozart's world a little longer. In that sense, Szell was a man of his time, being rather cavalier with repeats.
Szell seems to be the only conductor who remembers that "The Marriage of Figaro" is a comedy, and plays the overture accordingly. The contrast of weight and lightness in all the pieces shines through consistantly. Good remastering, with the Haffner, surprisingly, sounding a little more dated, but this is not at all a problem. By the way, in a effort to obtain all of Szell's Mozart, Sony/BMG in their quirky way with marketing reissues, have forced me to buy the third incarnation of this recording of Symphony #35. But for all of that, excellent value.

Szell Creates The Cleveland Sound: Openess, Transparency, & Clarity of the orchestra..........2006-10-19

After reading reviews here, and elsewhere, people still do not understand the greatness of Szell. He, alone, among all prior conductors discovered the magic sound of 'precision'. He took "practice makes perfect" to beyond normal human endurance. And achieved 'The Cleveland Sound': An Openness and Transparency of the the entire orchestral sound field... based on clarity of music through precision. Szell's notes and chords ring out, in tremendous dynamic range, due to transparency. His 'speed playing' is always totally clear, for every note and chord. Everyone else 'blurs' a bit in high speed playing....just not enough practice.

Szell is the Vince Lombardi, Don Shula, Paul Brown, and Bill Bellichick of classical music...precision, practice, again, again, Get it right! You want to be the greatest ever? It's not free, Gentlemen, Again! Dammit!

There's a reason National Public Radio chose for the "Best of the Millenium" CD series, the Beethoven 9th by Szell, with Robert Shaw on chorus. Who else to play the greatest symphony ever, but the best ever? Mozart? Szell was called "the next Mozart" as a child prodigy in Europe. Thrilling? Szell invented that...or better yet, perfected it.

Just this January 2006, as a private tribute to Szell, the Vienna Philharmonic began 'The official Mozart 250th Birthday Concert', broadcast live worldwide, with Szell's own personal Mozart Discovery: The Piano Concerto 25. Szell re-introduced the 25 to Vienna, in Vienna, with The Vienna, in 1934 after 150 years of dormant silence. Now, it's one of Mozart's best loved.

Please buy Szell! ...especially the new DSD releases, the latest digital remastering. And enjoy the transparent openness of the ride.

Simply the finest examples of Mozart orchestral playing...ever.......2006-09-03

I find it curious how Szell's critics point to the precision of his performances and lack of rubato as an indication that they are devoid of emotion, as though emotion, sloppy playing and excess rubato must come hand in hand. Performing Mozart well means expressing the essence of the work through a careful combination of style, phrasing, pacing and **some** rubato, which Szell does perfectly.

Those who are looking for examples of how Mozart should be played by an orchestra, MUST listen to these recordings. Szell's Mozart has consistenly been considered some of the best, but these performances are the absolute top.

Phrasing, balance, pacing are all not only perfectly executed, but expertly thought through by Szell. And yes, the performances are very precise.

Mozart comes full circle--these are almost period performances.......2006-08-19

Szell aimed for an uucanny precision in orhcestral execution that will either thrill you in Mozart or make you think something's gone totally wrong. As with modern period readings, Szell's Mozart symphonies are fast, crisp, and rubbed clean of any rubato or emotional expression. At times this leads to amazing results, as in the Presto finale of Sym. #28, which doesn't drop a stitch at whirling velocity. Just as often, howeer, everything sounds tightly wound, as in the first movement of Sym. #33--Szell barely slows down for the lyrical second subject to let it breathe.

At his height in the Sixties, Szell was revered by the American press, which adored all things Toscanini, and this is Mozart in the Toscanini style, though more elegant and less fierce than the old man would have done. Sony has been generous in filling out the three symphonies with Eine Kleine Machtmusik, which is made to look smart at attention yet sounds a little more relaxed than the symphonies--I'd call it the best thing here. The last movement made me smile--I suddenly remembered how fond I was of the original LP issue. The Figaro Over. also manages to be swift without sounding hectic; it's the next best thing on a CD that Szell's admirers will treeasure.

Szell Conducts Mozart.......2006-08-12

These performances first appeared on LP during the 1960s, and are being reissued on Sony's recently revamped Great Performances series.

It must have taken some arm twisting on Szell's part to get Symphonies K. 200 and K. 319 recorded, as neither were repertoire staples in the 1960s (they still appear relatively rarely). Kudos to both Szell and Columbia for undertaking the project. The Marriage of Figaro Overture, Symphony K. 385, and Eine kleine Nachtmusik have appeared in several incarnations since their original issue.

As with nearly everything else they recorded, the Szell/Cleveland combination brings forth performances of common sensibility and uncommon balance. The tempos and phrasing for each work and movement seem inevitable. The various choirs of the orchestra are balanced with chamber-like precision, so that each voice is heard in proper perspective.

Originally recorded at Severance Hall in the 1960s, the sound on this disc is greatly improved over all previous issues.
Dynamics, which were constricted, have been opened up. The strings have lost their aggressive edge and have a sweeter, more natural character. It's well worth duplicating or replacing the earlier issues of these recordings, and a must if you don't have them already.

Average customer rating:

Grace and Power
The Fire and the Agonies
Grab this up
Enjoyable Performances

Mozart: Symphonies Nos. 34, 35 & 39

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Similar Items:

Mozart: Symphonies Nos. 40, 31 & 28
Mozart: Symphonies Nos. 38, 29 & 30
Mozart Symphony 36, Linz Symphonies Nos. 33 and 27: Capella Istropolitana, Barry Wordsworth Conductor
Mozart: Symphonies Nos. 19, 20 & 37
Mozart: Symphonies Nos. 21-24 & 26

ASIN: B0000013LU
Release Date: 1994-02-15

Tracks:

Allegro Vivace
Andante Di Molto
Allegro Molto
Allegro Con Spirito
Andante
Menuetto
Finale: Presto
Adagio - Allegro
Andante Con Moto
Menuetto Allegretto
Finale: Allegro

Customer Reviews:

Grace and Power.......2007-05-19

This early Naxos CD would be a find at any price. Barry Wordsworth conducts the Capella Istropolitana in Mozart's symphonies 34, 35, and 39. The Mozart playing is near ideal as the performance brings out the lyricism and power in the scores and the beautiful writing for winds, brass and tympani. Both Wordsworth and the ensemble have continued with notable careers after this early recording. Wordsworth is currently the Conductor Laureate of the BBC Concert Orchestra in 2006 after serving as principal conductor since 1989. The Capella Istroplitana began as a studio orchestra and has recorded extensively for Naxos. It has also expanded beyond the recording studio and now performs exensively in Bratislava and elsewhere. I share the enthusiasm of my fellow Amazon reviewers for this CD.

Mozart's three-movement symphony no. 34 in C major K. 338 is an early work, composed in Salzburg in 1780. The two outer movements of this symphony are energetic and spacious, featuring much use of rousing themes and full orchestra, with a great deal of brass fanfare. The middle movement, andante di molto, in contrast, is for muted strings alone, and consists of a quiet songlike theme. As the movement progresses, the strings divide and answer each other in several voices.

The "Haffner" Symphony, No. 35 in D major K. 385 has always been one of my favorite works of Mozart. In composing this work, Mozart simply took four movements of his earlier "Haffner" serenade and reorchestrated them slightly. The result was a masterpiece. The opening allegro vivace has been aptly described as presenting a dramatic "thematic and harmonic hardness." The movement is full of dynamism and energy. In the following andante, Mozart reduces the instrumentation to strings, bassoon, oboe, and horn, in a movement consisting of a repeated flowing melody with a short middle section in the minor. The minuet continues the forward drive of the opening movement, with a great emphasis on trumpet and tympani and a softer, contrasting trio. The finale is lively, sprited and energetic, with long frilly, joyous passages in the high strings. This movement somehow manages to be both graceful and overpowering at the same time. The performance is first-rate.

Mozart's symphony no. 39 in E flat major K. 543 is one of his three final works in the form dating from 1788. It is a work of contrasts, shifts, and triumph with a movement going from darkness to light -- from seriousness and somberness to power and joy. This is the first symphony in which Mozart used his beloved clarinet -- the instrument for which he wrote incomparable music in his clarinet quintet and clarinet concerto. The symphony opens with a slow, solemn introduction punctuated by the tympani. The body of the following allegro alternates between quiet, flowing passages, and a lengthy, powerful, and majestic theme given over to the full orchestra with much emphasis on the tympani and winds. The second movement is, in contrast, slow, spare, and haunting. The minuet has a glittery character and it features a famous duet for the clarinets in the trio. The finale is vigorous and triumphant, wrapping up a kaleidescopic symphony of many moods.

This CD is a great way to hear Mozart symphonies.

Robin Friedman

The Fire and the Agonies.......2004-12-16

This CD is something of a highlight in the Naxos catalogue. Barry Wordsworth’s Mozart interpretations have all been given praise enough, but this 1988 recording of three of Mozart’s most moving and entertaining symphonies is the best of the whole lot. Neither the acoustics nor the audio engineering are perfect, but both are more than adequate and make for 62 minutes of sheer enjoyment, with Wordsworth coaxing the very best out of his Slovakian musicians and enabling the listener to follow with great pleasure all the ins-and-outs and ups-and-downs of Mozart’s lively scores. In particular, I felt that Symphony No. 39 was quite brilliant, and comparing Wordsworth’s interpretation with the latest budget competition on Warner’s Apex label (Ton Koopman directing the Amsterdam Baroque Orchestra), I have to say that Wordsworth more than holds his own: on the one hand, Koopman and his period-performance troupe have the advantage of more spacious, transparent engineering, but on the other hand I felt that Wordsworth’s was the more energetic, perhaps even more Mozartean recording, with Koopman going for a soft-touch noblesse that somehow seemed to lack both the fire and the agonies that Wordsworth allows the score to express. With the “Haffner” (Symphony No. 35), I would give Nikolaus Harnoncourt and the Concertgebouw Orchestra slightly better marks, but here too I think Wordsworth does a fine job.

Grab this up.......2002-11-03

Though I've owned the Naxos boxed set of Mozart symphonies for a few years now, this particular disc has been buried in my CD player for weeks now. While flipping through "The Penguin Guide to Classical Music" a few days ago, I noted that they particularly recommended this disc as an introduction to Wordsworth's facility with this music. I have to concur. This one brings together highly dramatic readings of the Symphony No. 34 (a terse three-movement piece, rather like the earlier "Paris" Symphony in its fast, frothy outer movements) and the "Haffner" along with the epic Symphony No. 39. Wordsworth, as a ballet conductor, shows a happy sense of grace, fantasy, and rhythmic charm. He opens the "Haffner" with a regal display of energetic drama that recalls Szell's bursting treatment of the same music, and the rest of the piece soars along with the same high energy and finesse. Of course, masterful as those earlier works are, the Symphony No. 39 is the most important issue here, and it may confidently be offered that Wordsworth and his players evoke its gorgeous, "Magic Flute"esque world of wintry, fairy-tale charm, menace, and romance with loving devotion. Though one must lament the absence of repeats for the final movement, this remains a wonderful statement of this music from start to finish. Trustfully Naxos will keep pumping these out; while the eccentric, scholarly genius of Harnoncourt and Mackerras is beyond dispute, people also require more traditional (or "traditional") presentations of this immortal music, and Wordsworth has easily bested Marriner here at this game.

Enjoyable Performances.......2001-12-18

These three Mozart symphonies are combined on one budget-priced CD, and this is not only a bargain, but these are very enjoyable and refreshing. Especially one of Mozart's last symphonies, K.543 (Number 39) in E flat, with the very crisp and dramatic hard-stick timpani at the very opening of the first movement. Barry Wordsworth and the Capella Istropolitana are worthy performers, and this recording, along with 12 other Mozart symphonies on four Naxos CDs, are a very good way to get all of the most famous symphonic works of W.A. Mozart; with a very modest outlay.

Average customer rating:

A good lesson for all present and foture counductors- excellent enteratinment- great pleasure....

Mozart: Symphonies Nos. 34, 35 & 36

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Mozart: Symphonies 38 & 39
Symphonies Nos. 40 & 41 (A little night music)
Mozart: Dances And Minuets
Mozart: Symphony Nos.25, 26, 27, 29 & 32

ASIN: B000001VV7
Release Date: 1996-08-01

Tracks:

Sym No.34 in C, K.338: Allegro vivace
Sym No.34 in C, K.338: Andante di molto
Sym No.34 in C, K.338: Finale. Allegro vivace
Sym No.35 in D, K.285, 'Haffner': Allegro con spirito
Sym No.35 in D, K.285, 'Haffner': Andante
Sym No.35 in D, K.285, 'Haffner': Menuetto
Sym No.35 in D, K.285, 'Haffner': Presto
Sym No.36 in C, K.425, 'Linz': Adagio/Allegro spiritoso
Sym No.36 in C, K.425, 'Linz': Poco Adagio
Sym No.36 in C, K.425, 'Linz': Menuetto
Sym No.36 in C, K.425, 'Linz': Presto

Customer Reviews:

A good lesson for all present and foture counductors- excellent enteratinment- great pleasure...........2006-01-31

Listening to famous conductors and their grandious
orchestras while playing the last Mozart's symphonies,
people today have less opportunity to get-at least
correct music. Today art and music empire, apparrntly fell
behind in artistic interpretation. Big orchestras and their
conductors are collapsing in dynamics and tempos and all
that, people buy wrapped in a nice package. What a tragedy!

Fortunately, here is Hans Graf and his Salzburg orchestra.
Again, complete understanding of style and Mozart, reasults in
trilling interpretation and outstanding listener experience.
I will let specialists make detail reviews of this CD,
which they don't dare, and let "Haffner" play. BRAVO!

Mozart: Symphonies Nos. 25, 28, 29, 33, 35, 36, 38-41 [Germany]

Average customer rating:

Mozart: Symphonies Nos. 25, 28, 29, 33, 35, 36, 38-41 [Germany]
Bour , and Swf Sinfonieorchester Baden-Baden
Manufacturer: Quadromania Klassik
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B00023GOKU
Release Date: 2006-05-03

Tracks:

Symphony No.25 In G Minor, Kv 183
Symphony No.28 In C Major, Kv 200
Symphony No.29 In A Major, Kv 201
Symphony No.33 In B Major, Kv 319
Symphony No.35 In D Major, Kv 385
Symphony No.36 In C Major, Kv 425
Symphony No.38 In D Major, Kv 504
Symphony No.39 In E Flat Major, Kv 543
Symphony No.40 In G Minor, Kv 550
Symphony No.41 In C Major, Kv 551

Mozart: Symphonies Nos 29, 35 (Haffner), 38 (Prague), 39, 40, and 41 (Jupiter)

Average customer rating:

Newly discovered rarity here

Mozart: Symphonies Nos 29, 35 (Haffner), 38 (Prague), 39, 40, and 41 (Jupiter)
Wolfgang Amadeus Mozart , Otto Klemperer , and Philharmonia Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer
Brahms: Violin Concerto; Mozart: Sinfonia
Beethoven: Symphonies Nos. 4 & 6 "Pastorale"
Beethoven, Sibelius: Violin Concertos
Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter

ASIN: B000EF5MHM
Release Date: 2006-03-07

Tracks:

I. Allegro Moderato
II. Andante
III. Menuetto & Trio
IV. Allegro Con Spirito
I. Adagio - Allegro
II. Andante
III. Finale (Presto)
I. Adagio - Allegro
II. Andante Con Moto
III. Menuetto (Allegretto) & Trio
IV. Finale (Allegro)

Tracks:

I. Allegro Con Spirito
II. Andante
III. Menuetto & Trio
IV. Finale (Presto)
I. Molto Allegro
II. Andante
III. Menuetto (Allegretto ) & Trio
IV. Finale (Allegro Assai)
I. Allegro Vivace
II. Andante Cantabile
III. Minuetto (Allegretto) & Trio
IV. Finale (Molto Allegro)

Amazon.com

Klemperer's Mozart recordings have been available almost without a break since their original LP releases. It's not hard to see why, since he conducted Mozart with authority, never lapsing into either heavy-handed Romanticism or its opposite, treating the music like a fragile piece of porcelain. Klemperer's sturdy rhythms make even some of his slow dance-based movements seem faster than they actually are. Period performance buffs will still feel this big-band Mozart is too heavy but the more open-minded will appreciate the way Klemperer brings the winds forward to create appropriate balances with the strings. The conductor's late recordings could be variable affairs, but for the most part these glow with the ardor of his love for the composer and his music. The Philharmonia (and its successor, the New Philharmonia) are in top form, with the winds - in solo turns or as a section--particularly outstanding. Klemperer's muscular directness yields a set that will never be out of fashion, especially in this Great Recordings of the Century remastering in which the original recordings don't sound their age. --Dan Davis

Customer Reviews:

Newly discovered rarity here.......2006-12-27

At first I thought this Great Performances reissue of Otto Klemperer's Mozart symphony recordings was just another repackaging by EMI of music that was already in my collection. But then a few words on the track listing told me otherwise.

In 1956, Klemperer and the Philharmonia Orchestra recorded the second album in what was planned to be a major collection of Mozart symphony records, the Symphonies #38 "Prague" and #39. This monaural recording was issued to critical acclaim and Klemperer's Mozart sessions continued, but beginning with the next, the Symphonies 25 and 40, the master tapes were done in stereo. Commercially in that era, having the #38 and #39 in mono just would not do, so in 1962, EMI and Klemperer redid the #38 and #39 in stereo.

The original performance was then deleted from the catalogues and forgotten by EMI, but not by many who admired Klemperer's music-making, preferred the earlier performances, and who cherished their now rarely-found LPs of the original 1956 recordings.

The current Great Performances reissue resurrects half of that original issue. To my great surprise, the Symphony #39 turns out to have been originally master-taped in STEREO, the stereo tape apparently recently rediscovered by EMI in its vaults; this seems to be EMI's justification for including it in this new reissue. It was done in fine stereo sound; I'm glad to hear it this way for the first time, and happy to have it in my collection, though Klemperer "completists" may well balk at having to buy the entire set to get a "new" version of this one performance. Perhaps, as in the case of Klemperer's first (and famous) 1955 EMI record of the Beethoven Symphony #7, EMI will issue the 1956 stereo Mozart #39 separately some day. But I decided not to take the chance, in case they don't!

I do regret that the 1956 recording of the Symphony #38 isn't included; apparently EMI didn't turn up a stereo master tape of that one. Also I regret that EMI could not find space for Klemperer's recording of Mozart's #36 "Linz", which was originally in stereo and an integral part of the collected view of Mozart by a great (perhaps THE greatest) conductor of the twentieth century.

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