Wolfgang Amadeus Mozart Barry Wordsworth Capella Istropolitana - Mozart Symphonies Nos 34 35 39 (11 tracks) +Album Reviews

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11/03/2002

(5 out of 5 stars)

"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."

The Fire and the Agonies

Leslie Richford | Selsingen, Lower Saxony | 12/15/2004

(5 out of 5 stars)

"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."

Enjoyable Performances

JohnL | Alexander, NC United States | 12/17/2001

(5 out of 5 stars)

"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."

Grace and Power

Robin Friedman | Washington, D.C. United States | 05/19/2007

(5 out of 5 stars)

"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"

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