These two delightful works come from Mozart’s unhappy time in Paris during
1778. He had been urged to leave Mannheim by his father and went
reluctantly, arriving in Paris in March, accompanied by his Mother. Tragedy
was to strike in July when she died of a fever and was buried in the Church
of St. Eustache. This was a far cry from his previous visit when he had been
acclaimed at a mere seven years of age.
The
Concerto for Flute and Harp was commissioned by the flautist
Duke of Guines, who wanted a work he could perform with his harp-playing
daughter Marie-Louise Philippine. Apparently she wasn’t particularly
skilled, despite lessons from Mozart and there is no evidence that the two
played the piece. What was worse for Mozart is that the Duke did not pay him
for the work. The Concerto is a pleasant piece in three movements with some
delightful touches between the two instruments. I got to know this work
about thirty years ago in a strong “old style” performance conducted by Karl
Böhm (DG 0289 413 5522 5 GH). It’s not a work I play often but it has
undoubted charm. This version certainly conveys its appeal most effectively.
Both soloists acquit themselves proficiently although it is not the most
characterful rendition I’ve heard. The Orchestra plays well but whilst the
sound is generally good the soloists are more recessed than I’d prefer.
The
Sinfonia Concertante for Four Winds is one of my favourite
pieces of Mozart even though there is some controversy over whether it is
all by him. In the well-written notes Torkil Baden points out that notable
scholar Stanley Sadie believes it cannot be all authentic Mozart as all
three movements are in the same key. I’m not going to argue with people far
more knowledgeable but I’ve always accepted this as Mozart and enjoy it as
such. Like many others, I’m sure, my introduction to the work was courtesy
of Karajan conducting the Philharmonia and a splendid quartet lead by Dennis
Brain. That recording is currently in a box set — Karajan and his Soloists
(Warner Classics 825646336258); a performance I return to again and
again.
The present performance is under a different conductor, Arvid Engegard. It
begins with tremendous gusto at a faster tempo than Karajan but never feels
rushed. The interplay of the four instruments is most effective as is the
jaunty humour of the first movement. The
Adagio is sublime and
moving. This too shows the fine playing of the quartet and the sympathetic
accompaniment. The final movement gives each of the instruments a “chance to
shine” and how well do these four soloists do so. Good though Walter Legge’s
production was of Dennis Brain and co. back in 1953 there is no doubt that
full stereo sound sixty years later conveys the nuances of the four
instruments to a much greater degree.
I listened to this SACD in standard stereo format but found the sound
quality of the highest level. All in all this is an excellent performance of
a lovely piece regardless of whether it’s 100% Mozart. I know what I
think.
The booklet has notes in Norwegian and English and brief but satisfactory
summaries on the two pieces. There are also photos and biographies of the
conductors and soloists.
These pieces, composed around the same time, make an appropriate coupling
and will appeal to lovers of these works as well as to those who have yet to
discover their charms.
David R Dunsmore
