This bargain re-issue
of three of Mozart’s most popular concertos
features soloists who, in three out
of four cases at any rate, play on period
instruments. The fourth and possible
exception is Saskia Kwast, who may be
playing on a modern concert harp. My
apologies if I’m wrong, but I’ve been
unable to check that.
These are, on the whole,
stylish and attractive performances.
Koopman directs the accompaniments and
tuttis in an alert and sympathetic manner,
and his soloists are mostly equal to
the task of projecting the music. However,
despite his accomplished playing, I
find the sound of Marc Vallon’s 18th
century bassoon far too dull in tone
to be acceptable. I just don’t believe
that Mozart or Haydn would have been
drawn, as they clearly were, to an instrument
so devoid of colour and flexibility.
Indeed, Vallon’s playing disappears
into the undergrowth alarmingly quickly
at the merest hint of forte in
the orchestra. Not for me, I fear, especially
when there are wonderful versions on
modern instruments by such as Thunemann
and Zeman.
Marcel Ponseele, the
oboist, is much more interesting to
listen to, even though his tone is still
lacking in reedy brightness. However,
his cadenzas are models of brevity,
and I found this an enjoyable enough
performance. The finest item on the
disc, though, is the delightful account
of the Concerto for Flute and Harp.
This work greatly benefits from the
simple and fresh approach of all involved,
and its charm can be felt all the more
strongly for it. Those interested in
textual issues might like to listen
carefully to the slow movement (track
8) between 2:50 and 3.10, though; B
or Bb? The excellent Hazelzet on his
Baroque flute gives us the former, while
Kwast plucks out the latter - take your
pick!
Competition is very
strong in the area of Mozart concertos,
but this disc is, given its price, thoroughly
recommendable for the Flute and Harp
Concerto alone.
Gwyn Parry-Jones