Recorded nearly 45 years ago at the Salzburg Mozarteum,
this interesting programme features some of the finest Mozart performers
of their generation.
No sooner have the opening chords of the Impresario
Overture begun than the disc's strengths and, alas, weaknesses, become
apparent. There is abundant freshness and vitality, to be sure, but
the sound undermines it. Allied with a general dimness of tone, the
string sound is unpleasantly wiry. It is a great pity but it is a risk
encountered with older recordings. The remastering certainly has not
eradicated the weakness.
The strings sound better focused in the double piano
concerto, but the dimness remains. The performance is excellent, Haskil
and Anda making an effective team, as their pedigree would lead us to
expect.
The two arias fare best, since the beautiful voice
of Erika Köth is actually captured in a pleasing focus, though
the orchestral sound in once again thin. But this is a performance worth
investigating, not least because such gems are to be found. Il re pastore
is a charming piece and this aria is particularly so. Paumgartner conducts
with great sensitivity, shaping the phrases with taste and concern for
his singer's breathing.
The other vocal item is the recitative and aria is
Ma, che vi fege, o stelle, K368, which Mozart composed in Munich during
1780, for Elisabeth Wendling, who had introduced the role of Elettra
there in his Idomeneo. The piece starts with an expressive recitative
before moving to a lively aria in which the vocal pyrotechnics attest
to the qualities the singer must have shown in performing the coloratura
role she had created in the opera. Not does Erika Köth disappoint
here, with magnificently steady tone and accuracy of pitch. Like so
many of the concert arias, this is magnificent music, and so is the
performance.
The Symphony in F major was written in 1771 by the
15 year old Mozart to take on a trip to Italy. As such its intention
was to impress, and it is certainly a lively, inventive piece, though
the recorded sound restricts the impact of Paumgartner's brilliant and
carefully prepared performance.
Terry Barfoot
Clara Haskil, Géza
Anda (pianos)