With a few major exceptions, most of Mozart's works are tied to specific
situations and locales. That being the case, it's surprising that more
recordings haven't been devoted to works he wrote in a certain place and
at a certain time. One learns a lot from hearing all his Masonic pieces
at one time, for example. And this disc, which offers a slice of
Mozart's music from his 1778 visit to Paris, makes a satisfying whole --
and along the way makes a strong case for Mozart's authorship of the
disputed Symphonie concertante for flute, oboe, horn, bassoon, and
orchestra, K. 297b, presented here in an adaptation by Robert D. Levin
of a later and probably spurious version with a clarinet. The symphonie
concertante was a genre of French origin, and the example here fits with
the rest of the ingratiating, abundantly lyrical, slight but absolutely
seductive music Mozart wrote in Paris. The Freiburg Barockorchester and
leader Gottfried von der Goltz also offer the two versions of the
middle movement of the Symphony No. 31, "Paris", the second provided by
Mozart as a replacement after a concert series director protested that
the original contained too many modulations. This offers an unusual
insight into Mozart's creative processes as he worked to meet the needs
of patrons who did not fully understand his music. Check out the
delightful Concerto for flute, harp, and orchestra, K. 299, for an
example of the basic approach of this period-instrument German group in
this music: in place of the high spirits most performers infuse into
this concerto, von der Goltz draws on the influence of ballet in
Parisian musical life -- a field into which Mozart himself ventured with
his curiously titled ballet Les petits riens (The Little Nothings).
This is very graceful but rather restrained Mozart. Still, it avoids the
cold quality that many Baroque-oriented groups have when performing
Mozart, and the program is an unusually worthwhile one. With a few major exceptions, most of Mozart's works are tied to specific
situations and locales. That being the case, it's surprising that more
recordings haven't been devoted to works he wrote in a certain place and
at a certain time. One learns a lot from hearing all his Masonic pieces
at one time, for example. And this disc, which offers a slice of
Mozart's music from his 1778 visit to Paris, makes a satisfying whole --
and along the way makes a strong case for Mozart's authorship of the
disputed Symphonie concertante for flute, oboe, horn, bassoon, and
orchestra, K. 297b, presented here in an adaptation by Robert D. Levin
of a later and probably spurious version with a clarinet. The symphonie
concertante was a genre of French origin, and the example here fits with
the rest of the ingratiating, abundantly lyrical, slight but absolutely
seductive music Mozart wrote in Paris. The Freiburg Barockorchester and
leader Gottfried von der Goltz also offer the two versions of the
middle movement of the Symphony No. 31, "Paris", the second provided by
Mozart as a replacement after a concert series director protested that
the original contained too many modulations. This offers an unusual
insight into Mozart's creative processes as he worked to meet the needs
of patrons who did not fully understand his music. Check out the
delightful Concerto for flute, harp, and orchestra, K. 299, for an
example of the basic approach of this period-instrument German group in
this music: in place of the high spirits most performers infuse into
this concerto, von der Goltz draws on the influence of ballet in
Parisian musical life -- a field into which Mozart himself ventured with
his curiously titled ballet Les petits riens (The Little Nothings).
This is very graceful but rather restrained Mozart. Still, it avoids the
cold quality that many Baroque-oriented groups have when performing
Mozart, and the program is an unusually worthwhile one.
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