This beautifully recorded Naxos disc neatly shows us
the two sides of the classical wind serenade ‘coin’. Our understanding
of this genre comes almost exclusively from the works of Mozart, and
whilst he was not the only composer of these popular works (his father,
Leopold, and Michael Haydn were both known to have contributed to the
form) his are by some way the finest examples of their kind. The present
collection gives us three early ‘entertainments’, short, lighter pieces
that contrast well with the magnificent large-scale C minor Serenade,
as fine a work as Mozart ever conceived.
The standard of playing here is extremely high, and
the shorter works are treated to performances of great intensity and
colour. The result is that they emerge as far more important pieces
than their titles suggest. Most of these earlier serenades and divertimenti
were written for affluent local patrons, often to be played outdoors
to large, popular audiences. As is typical of Mozart, he invests them
with a great deal of variety and colour, often overcoming the limitations
of the scoring combination and band size. A good example of this is
the first movement of the F major, K.253, which is one of only
three Mozart works to open with a theme and variations. The fluid, independent
part writing is very effective, and his treatment of the slender material
masterly. The players here clearly revel in this mastery, which foreshadows
much of the important wind writing in the great concertos and symphonies
to come.
Delightful as the shorter pieces are, there is little
to prepare us for what the liner note rightly calls "the intensity,
intellectual power and grave beauty" of K.388. This work
has traditionally been dated to July 1782, though the occasion for which
it was written remain unknown. That Mozart thought highly of the piece
is obvious from his later arrangement for string quintet. In wind band
form it is a major Mozart composition, and there are at least a dozen
very fine recordings of it in the catalogue, usually coupled with the
other great serenades, K.361 and K.375. I doubt if any
of them are any finer than this excellent Oslo performance. It has a
warmth and dark beauty that is very satisfying. The very opening, with
its rising C minor arpeggio, is a good example of the group’s tonal
splendour and firm but flexible phrasing. The wonderful Andante is
played with unaffected charm, and the superb canonic counterpoint of
the Menuetto is marvellously balanced, with accents clear but
not exaggerated. The inventive finale, another Theme and Variations,
has passion, grace and fire in equal measure. Try the famous Don
Giovanni fifth variation, where the limpid clarinet playing is particularly
impressive.
As may be deduced from their name, these players are
all principals with the now famous Oslo Philharmonic, and started life
as a wind octet, expanding as demand grew. On the strength of this showing,
they can happily live with the world’s best in terms of intonation,
tonal blend and individuality of timbre and phrasing. The recording
strikes me as virtually ideal, and I certainly look forward to future
releases from this group.
Tony Haywood
Oslo Philharmonic Wind
Soloists