RECORDING OF THE MONTH
Wolfgang Amadeus MOZART (1756-1791)
Horn Concertos nos.: 1 in D major, K412/514 (K386b) (1791-2) [8:00]; 2 in
E flat major, K417 (1783) [13:39]; 3 in E flat major, K447 (1787) [14:55];
4 in E flat major, K495 (1786) [16:31]
Alessio Allegrini (horn), Orchestra Mozart/Claudio Abbado
rec. location unspecified. June 2005, Feb 2006, June 2007, DDD
DEUTSCHE GRAMMOPHON 477 8083 [53:20]
From the opening movement of the First Concerto Orchestra Mozart’s
response is ever alert. Its playing is light, clean in articulation and, where
appropriate, robust. Claudio Abbado brings an invigorating energy to the orchestral
contribution. This is delicate yet also pointed, lyrical yet also has a masculine
quality, as in the development of the opening theme (tr. 1 from 2:00). The
soloist, Alessio Allegrini, confirms the fundamentally joyous nature of the
music-making with a quite broad, fruity yet still refined tone. It’s
a mellow sound and he contrasts pleasingly with the orchestra by being more
laid-back; something he can do owing to the sheer assurance of his phrasing.
Allegrini is given a close recording focus so the effect is that of the orchestra
appearing as a garland around the spot-lit soloist. The only other movement,
a Rondo awaiting revision at Mozart’s death, was revised and elaborated
by his amanuensis Franz Süssmayr. This is even more buoyant. It’s
also a touch ostentatious in its witticisms such as the quirky wisps of accompanying
violin semiquavers (tr. 2 from 2:06) and the lively string bass variation
on the theme near the close (from 2:53). Soloist and orchestra take all this
in their stride. The soloist gives the lead in friendly, companionable playing.
I compared the late 1990s recording by R.J. Kelly and the American Classical
Orchestra/Thomas Crawford (Nimbus NI2568/70). Crawford’s strings have
greater sheen and a more penetrating tone than those of Abbado. Might this
be because Orchestra Mozart, though fine historically informed performance
exponents, aren’t as uniformly a period instrument orchestra as the
Crawford players? Kelly’s horn is more naturally balanced in the recording
acoustic and is also a true natural horn. Allegrini, as can be seen from the
cover photograph, plays a valve horn. Consequently Kelly is overall less rounded
and assured than Allegrini. You are aware of the difficulty in playing.
What’s striking in Horn Concerto 2 is Allegrini’s sustained
line and lyricism in the opening movement. It’s down to light articulation
and a rounded tone. That lyricism also encompasses a latent thoughtful vein.
Here is exemplary legato and poised, philosophic playing. Without the
complexity it has something of the emotional ambience of an aria. You also
appreciate the transparency of Abbado’s accompaniment. He achieves a
blend of vigour associated with bracing tuttis and delicacy from the
airy strings.
For all that their slow movement is a mite too slow, though I can’t
say it isn’t the marked Andante. Allegrini and Abbado go for
a sotto voce approach. It’s beautifully done, but the line is
sufficiently pointed in its expressiveness to be impeded and self-conscious.
Mozart’s line is smoother than it’s made to sound here. I prefer
Kelly and Crawford’s slightly faster (2:53 against 3:38), more natural
and unaffected manner. That said, Kelly lacks Allegrini’s beauty of
tone or smoothness of execution. Allegrini and Abbado’s rondo finale,
a quieter sibling of the famous one in the Horn Concerto 4, is blithe and
skipping. Allegrini supplies his own frothily light-footed cadenza. The breaking
up of the line, the hesitations and repetitions are Mozart’s and a perfect
tease.
The opening movement of Horn Concerto 3 has a more complex, discursive
orchestral introduction. This also extends to the horn part. There’s
a winsome second theme (tr. 6, 0:21) and a graceful codetta (0:52) to the
exposition. These linger in the memory for all their brevity. The ubiquitous
clarity of Abbado’s accompaniment makes Mozart’s change of scoring
from oboes to clarinets quite striking. The opening movement’s many
varieties of mood are well caught as the horn sensitively probes and extends
the experience. The amicable matching of soloist and orchestra in conversation
is a joy. This can be felt even in the more reflective development (2:54)
in which the weight of thought is in the horn’s succession of sustained
notes. Allegrini provides his own frolicsome, superbly dextrous cadenza, at
1:02 for a movement taking 7:21. Arguably it’s a little fulsome but
it suitably reflects the dominance of the horn in furthering the musical argument.
By contrast the slow movement Romance is largely and deliciously the simplest
of rondo melodies. Even here the horn can supply moments of greater rigour.
This can be felt in the sforzandi sustained notes which cut across
the orchestral texture from 2:27 in the extension of the second episode. In
general Allegrini displays a guileless, and utterly contented lyricism but
how he makes the horn sing! Abbado supplies accompaniment of the utmost delicacy.
It’s notable too how right a progressive approach to the Larghetto
marking sounds. Timing at 4:07 this movement is lovelier and more convincing
than Kelly and Crawford’s 4:55. In comparison it sounds rather dozy.
Allegrini’s and Abbado’s rondo finale has a relaxed, bubbly joviality.
These episodes culminate in cantering strings and chuckling horn-calls. As
with all great virtuosi Allegrini makes it all sound so easy.
Horn Concerto 4 has a sprightly orchestral introduction. Its codetta (tr.
9 1:08) is benignly repeated by the soloist doubling the oboe just before
he enters with his solo proper. This early appearance is marked piano
but with a recording balance here favouring the soloist it stands out awkwardly
lacking the contentment it has gained by its repeat at the very end of the
movement (7:27). Come the solo proper, however, all is wonderfully assured
playing and a musical line at ease with itself. To the slow movement Romance
Allegrini brings a serene musing. His sotto voce shading has a faraway,
visionary quality. A slowish Andante here suits the music better than
in Concerto 2. Allegrini displays graceful ornamental embellishments to repeated
phrases from 1:33. The famous Rondo Finale starts quietly, soon skips along,
yet has an underlying sense of unassailable calm seemingly retained from the
slow movement. At the same time Allegrini is able to provide in the second
episode at 1:46 one ornamented repeat of a phrase which is both outrageous
and admirable.
Documentation could be better: we’re not told which concerto was recorded
when or where. These are live recordings, as suggested by the cover photograph
and applause at the end of Concerto 4. However nowhere are told that.
That said, here is glorious horn playing with alert, intelligent and sensitive
orchestral backing. You won’t find better.
Michael Greenhalgh
Glorious horn playing with alert, sensitive orchestral backing.