Quintet for Piano & Winds Sinfonia Concertante K.2 インポート
Mozart : Quintette piano & vents, K452 - Symph. Concertante hautb., clarin., basson, cor, K297b - Beethoven : Quintette piano & vents, Op.16 / Walter Gieseking, piano - Dennis Brain, cor... - Quatuor vents du Philharmonia - Philharmonia Orch., dir. Herbert von Karajan
Walter Gieseking is joined by stellar wind players, including the great hornist Dennis Brain; and the Quintets have a gleaming, robust quality that make them irresistible. They were recorded in the mid- 1950s, a time when Gieseking sometimes operated on automatic pilot, but here he sounds involved and fluent; the keyboard part played with aristocratic grace and, where appropriate, sparkling high spirits. The filler is one of Herbert von Karajan's few successful Mozart recordings, aided immeasurably by the expert first-desk soloists of the Philharmonia. Fans of Gieseking and Dennis Brain will want this disc, but anyone will enjoy this happy combination of fine playing, music that's lovely if not profound, and excellent mono sound. --Dan Davis
Applause is appropriate upon hearing this marvelous disc full of piano, winds and orchestra accompaniment. Never much of any instrument overshadowing or stand aloneness, but always together, with remarkable tone balance and pure speaking.
Performers here are extraordinary, from superb hornist Brain to clarinetest Walton to bassoonist James and oboist Sutcliffe soaring on the Sinfonia, which is one of treasures of this piece.
And the seller who sold this product through Amazon, performed to perfection, too. Quick shipping and safely packaged.
Thanks a bunch!
What is the Bermuda Triangle or Roswell compared with this mystery?
There's no other work like it in the repertoire. It's the handiwork of a major composer - how else can one explain its melodic content and feel for woodwind? The fact that it is not attributed to Haydn says something about its stature. And yet there's not a scrap of evidence to assign it to Mozart. True, the Salzburg Kid did indeed compose such a work, albeit with a flute rather than a clarinet. He was gyped of the manuscript in Paris but he swore vehemently to his father that he'd rewrite it on the journey home. Thereafter it disappears from view. A century later, a manuscript (not in Mozart's hand) was found in the estate of Otto Jahn. Alas, there was no indication of its origin and the flute had been swapped out for a clarinet. It was immediately attributed to Mozart until the Nineteen Fifties when doubts arose: there are structural anomalies in the first movement which do not bespeak Mozart (the main theme is repeated too often without ornamentation and the episode with the oboe is inorganic in the scheme of things).
These issues notwithstanding (perhaps the transcriber tinkered with its structure), it's difficult to avoid the conclusion that if Mozart did not write K 297b in his maturity, another Mozart did. The Adagio - glorious in its majesty and nostalgia - opens with the four note motif that accompanied him all his life - and when the horn makes its entry after the opening bars, who does not undergo a China Syndrome on the spot and meltdown in the core?
This disc is contentious. It was awarded a Rosette by the Penguin Guide in an ex cathedra pronouncement. Others regard it wanly. There's little point discussing the four soloists from the Philharmonia in any of these works as their handiwork is transfigurative. My personal favourite is Sidney Sutcliffe on the oboe - what a timbre! And if Dennis Brain had left us nothing but 4'57"ff and 6'24"ff in the finale of the Sinfonia Concertante, he'd still be remembered as a genius. That leaves Uncle Herbert, the contributions of one Walter Gieseking and the recording itself.
Karajan has a bad reputation in Mozart, largely stoked by his EMI cycle of symphonies from 1970 (some of which sound over-rehearsed), the marmoreal Don Giovanni from 1986 and his heartless sprint through Le Nozze di Figaro (Decca, not EMI). His Cosi and the 1976 performance of K 543 (DG) are regnant at the other end of the spectrum. Herbie recorded K 297b for EMI in 1971 - it is a spectacular `wipe out on Soup Beach' where not even the surf-board survived. Here in this November 1953 recording, he's in stellar form. Rhythms are well sprung. If he had subsequently conducted all of his Mozart performances in such a fashion, he would never have been associated with a certain word starting with `S' where forks are not required.
While no-one can argue against his touch, the tempos that Gieseking sets in the two Piano Quintets are leisurely. I don't care for Beethoven's Opus 16 as it's a minor work but Mozart set great store by K 452; tempo-wise, he indicated Largo-Allegro Moderato / Larghetto / Rondo-Allegretto. To my mind, this schemata vindicates Gieseking's approach. Mozart wants us to wallow in the woodwind. If others prefer a more spring-heeled approach, alternatives abound.
Mono though it be, the recording is not without depth and warmth. As the President of the Australian Kna Association, trust me: I've heard worse. The magnetism of the playing will soon win you over.
K 297b-wise, this performance has a rival from February 1966: Sinfonia Concertante K.297b & K.364. Perhaps the principals of the Berlin Philharmonic lack the individuality of their British counterparts but what music-making it is, underwritten by a vintage DG recording.
Buy both and count yourself blessed.
I'm afraid that while I otherwise applaud and approve his review, I take great exception to David Bryson's description of K297b as "a minor work of spurious attribution to Mozart performed under the baton of Uncle Herbert". It is a sublime piece in a recording I have loved for thirty years; I was delighted when it appeared on this issue. It features the same wonderful artists as in the Mozart and Beethoven quintets, with an orchestra and conductor in top form - no need to be snide about Karajan, especially if one is not even familar with the music. Mr Bryson says that he is "of course unable to offer comment on the filler" and admits that even if he did know it he "would have had next to nothing to say about that in any event" - so why talk disparagingly of it?
Having got that off my chest, I urge any music lover to acquire these cheap, classic accounts of some of the most delightful music ever written.
This CD may be hard to find, but it is utterly essential listening for anyone who savors chamber music-making at its finest.