L. MOZART Symphonies: in C, C 1; in D, D 17; in D, D 1; in G, G 14; in C, C 4; in D, D 25 • Matthias Bamert, cond; London Mozart Players • CHANDOS 10496 (68:20)


By my count, the current release is number 22 in Chandos’s ongoing series titled, “Contemporaries of Mozart,” a collection that has included symphonies by Clementi, Krommer, Michael Haydn, Carl Stamitz, Pleyel, Vanhal, Kozeluch, Hoffmeister, Cannabich, Franz Xaver Richter, and a dozen others. In some cases, “contemporaries” is a bit of a stretch; yet it could be argued that all of these composers contributed to the early stage evolution of the taxonomic genus we call “symphony.”


Of the specimens on this disc, three of the six (C 1, D 1, and C 4), all dating from the mid to late 1750s, are already in four movements and in a sequence of Allegro, Minuet and Trio, Andante, Presto. Interestingly, the order of the two inner movements would be reversed in the later and fully developed symphonies of Haydn and Leopold’s Wunderkind , Wolfgang, and would remain thus until Beethoven reversed them once again in his Ninth.


The other three symphonies heard here (D 17, G 14, and D 25) are in the three-movement sinfonia format (fast-slow-fast) quite common to the period. Typical, too, is the modest scoring of two violins, viola, bass (cello), and two horns, the viola being dispensed with altogether in D 1. If actually performed with these forces, one would be hard-pressed to distinguish between such a work and one categorized as chamber music. But it is likely that in performance the strings were beefed up in numbers, so that two violins likely became first and second violin sections of perhaps four players each, and the violas and cellos were both augmented to two each.


What would be born at full term as sonata-allegro form is here still in its fetal stage, with contrasting middle sections in the minor key appearing as the limbs that would grow into secondary themes and development sections. Also a prenatal feature is the virtually indistinguishable character between first and last movement allegros and prestos. First movements would subsequently slow down, expand, and take on a weight and gravitas quite different from the lighter, frothier, high-spirited last movements. All of this adds up to Leopold Mozart’s symphonies—at least those presented on this disc—falling squarely into the pre-Classical period well represented by many of the other composers in Chandos’s anthology that traces the beginnings and development of the symphony from the stil galant and the Mannheim school through the early essays in the form by Wolfgang Mozart and Franz Joseph Haydn.


Readers who have been irritated by my selective opposition to HIP may take some comfort in knowing that I am perfectly happy to hear works such as these played on period instruments; for in music of this timeframe, I find period instruments completely appropriate. Collectors of this Chandos series, however, will know that the London Mozart Players, founded in 1949 by Harry Blech as the U.K.’s first official chamber orchestra, is a modern-instruments ensemble, so that those looking for period-instruments performances of these works will need to look elsewhere. Unfortunately, there is at present nowhere else to look. Of the specific symphonies on this disc, there is only one listed recording of each, and this is it.


Happily, the London Mozart Players is a well-disciplined, professionally polished band; and under its leader, Matthias Bamert, dispatches its duties with élan. Even I must admit, however, that the ensemble is too large in numbers—or perhaps Chandos’s slightly over-reverberant recording makes it sound thus—for these performances really do strike me as somewhat bloated and brassy sounding. I wonder if Leopold Mozart would recognize these readings of his own works. If you’ve acquired previous volumes in this series, you will know what to expect. But HIPsters are hereby cautioned.


FANFARE: Jerry Dubins

Recorded in: Brangwyn Hall, Swansea 7-8 October 1997 Producer(s) Ralph Couzens Sound Engineer(s) Ralph Couzens Richard Smoker (Assistant)

Classical Music

Here's a Franck D-minor Symphony in the classic French tradition of Paray and Munch: fast and exciting. In fact, at less than nine minutes, Tortelier's finale may very well be the swiftest ever, and tempos in both of the other movements never look back. Still, there's no trace of stiffness or lack of rhythmic flexibility. Others may well call it the "slim fast" approach or "Franck-lite," and the lack of self-indulgence does rob the quieter moments of some of their inherent mystery. I'm thinking here particularly of the symphony's opening, or the calm interlude in the finale just before the coda, where the "motto theme" returns accompanied by rich harp arpeggios, but it's not a major issue. Tortelier also isn't afraid to let the enthusiastic brass swamp the strings now and again, as at the end of the first movement's second subject, but my word, how those trumpets do ride the climaxes! In short, I'm not tossing out my favorites (aside from those listed above, these include Monteux/Chicago and Bernstein's DG remake), but this is much more than just another run-of-the-mill version.


The couplings also go well. Les Eolides has just the right skittish charm, and the Symphonic Variations pack considerably more energy than usual, though Louis Lortie's capable pianism must yield to Artur Rubinstein (RCA) and Ivan Moravec (Supraphon). I am less the impressed with Chandos' sonics. As with their recent Glinka CD, the big, reverberant acoustic works against the thrust of the performances. Something drier and crisper, with a better focus on cellos, basses, and timpani would have complimented Tortelier's approach much more readily. Nevertheless, if you love Franck's symphony, you'll enjoy this.
--David Hurwitz, ClassicsToday.com

Includes work(s) by Bedrich Smetana. Ensemble: BBC Philharmonic Orchestra. Conductor: Gianandrea Noseda.

This collection of works for guitar and orchestra is celebratory in more ways than one. In its choice of composers it highlights a neat progression of anniversaries: 2001 marks the eightieth birthday of Sir Malcolm Arnold, 2002 the centenary of Sir William Walton and 2003 the centenary of Sir Lennox Berkeley. This is also a celebration of the guitar itself as these works represent an approach independent of traditionally Spanish and Latin-American orientated or inspired music. Recorded in: Jubilee Hall, Newcastle 20-21 January 2001 Producer(s) Ralph Couzens Sound Engineer(s) Jonathan Cooper Christopher Brooke (Assistant)

Recorded in: New Broadcasting House, Manchester 12-14 January and 9 February 1999 Producer(s) Mike George (Executive) Ralph Couzens Sound Engineer(s) Stephen Rinker Steve Hargreaves (Assistant)

REVIEWS:
Fanfare (5-6/98, pp.185-86) - "...The music is well crafted and exhibits genuine inspiration. Though there are elements of Mozartean grace, the overall effect reminds me more of middle-period Haydn. There is rustic vitality and a sense of joy that is irresistible....Heartily endorsed."

Classical Music

Recorded in: Dr Anton Philipszaal, The Hague, The Netherlands 25-28 May 1999 Producer(s) Brian Couzens Sound Engineer(s) Jonathan Cooper Richard Smoker (Assistant)

Recorded in: Danish Radio Concert Hall, Copenhagen 14-15 & 17-18 March 1995 Producer(s) Brian Couzens Claus Due Sound Engineer(s) Lars S. Christensen

Recorded in: St Jude on the Hill, Hampstead, London 20-22 May 1990, 5-6 January 1991, 9-10 January 1991 abd 6 January 1992 Producer(s) Brian Couzens Tim Oldham Sound Engineer(s) Ralph Couzens Richard Lee Ben Connellan (Assisant) Peter Newble (Assistant) Peter Sheldon (Assistant) Richard Smoker (Assistant)

York Bowen has a distinguished reputation as a composer and was considered to be one of Britain's finest pianists. In his day he was known as 'The English Rachmaninoff', and Saint-Saëns described him as 'the most remarkable of the young British composers'. The works of York Bowen tend to display a blend of romanticism and strong individuality, and although his influences include the likes of Rachmaninoff, Chopin, Grieg, and Tchaikovsky, his music is also strongly defined by textures and harmonies that are uniquely 'Bowen'. This recording presents the only two surviving symphonies by Bowen: Symphony No. 1 and Symphony No. 2, which are performed here by the BBC Philharmonic under the exclusive Chandos artist Sir Andrew Davis. Symphony No. 1 was written in 1902 when Bowen was an eighteen-year-old composition student at the Royal Academy of Music. The work is laid out in only three movements (unusual for the time), and requires a relatively modest orchestra. It is a deeply impressive achievement - the beauty and lyricism of the second movement and its myriad of orchestral colourations, together with a unique and often surprising sense of well-being in the finale, demonstrate that here is a genuinely symphonic composer who was not content just to copy established models and appease his professors. At least one movement of this symphony was performed during Bowen's time at the academy, but this recording may well be the first time that the work has been performed in its entirety. When Bowen composed his Symphony No. 2 just seven years after completing his first, much had happened in the world of modern music, not least in instrumental terms with the acceptance of large orchestras as standard. As a result this work is much larger in scale than his first symphony, and performed with significantly larger instrumental forces too. The finale in particular is spectacular in the way it develops from the tiniest semi-tonal seed into a fiery and almost unstoppable flood of 'Bowen-esque' inventiveness. This symphony is the work of an assured composer who was completely certain in his music's sense of direction and in the positive and life-affirming nature of his compositions.

Recorded in: Caird Hall, Dundee 20-22 August 1989 Recorded in: Henry Wood Hall, Glasgow 14-17 April 1987 Producer(s) Brian Couzens Sound Engineer(s) Ralph Couzens Ben Connellan Philip Couzens (assistant) Richard Smoker (assistant)

Felix Mendelssohn, whose centenary we celebrate this year, was the ultimate cosmopolitan composer, but formed a special relationship with Britain, which he visited ten times. A number of his works were written in response to English commissions, including Elijah, and the Six Sonatas for Organ which have become established repertoire for organists and are some of Mendelssohn's last compositions. Mendelssohn was the first composer of international renown after J.S. Bach to return to the organ, and performed publicly on English organs during all his visits, audiences coming in droves to hear him. The sound of the English organ of his day had some distinctive qualities, which have been captured on this recording by William Whitehead, who uses the 1818 Lincoln Organ now situated in the Ballroom at Buckingham Palace. It is not known whether Mendelssohn played this particular instrument but we know that he was a warmly welcomed guest of Queen Victoria and Prince Albert at the Palace on numerous occasions. Recently restored, the organ gives an English perspective on this ebullient music which crosses international boundaries of style. It is the first time an authentic instrument of this period has been used to record Mendelssohn's Six Organ Sonatas. William Whitehead will perform a number of organ recitals in Norway during July, appearing at the Bergen Festival on 5 July. He will also take part in the Westminster Abbey Summer Organ Festival on 11 August.