Academy of Ancient Music Mozart and Gluck Tues 25th Nov 7.30pm R3

[Lento]

Rather glad that Ivan Hewett panned this unbelievably bland offering, though I have to confess to hearing only twenty five minutes of part 2 (and none of part 1). I had thought it was just me! The harmonic monotony of the Gluck was stultifying, imvho. Anyone else heard it? (Mozart Flute and Harp plus Don Juan by Gluck).

http://www.bbc.co.uk/programmes/b04ps0kz

Have just discovered that the review is not on Telegraph website yet: sorry! (OK on iPad).

[ardcarp]

Bland to the extent of being ill-phrased, un-expressive and exceedingly boring. See:

http://www.for3.org/forums/showthread.php?12374-What-is-early-music

[Il Grande Inquisitor]

Rather glad that Ivan Hewett panned this unbelievably bland offering, though I have to confess to hearing only twenty five minutes of part 2 (and none of part 1). I had thought it was just me! The harmonic monotony of the Gluck was stultifying, imvho. Anyone else heard it? (Mozart Flute and Harp plus Don Juan by Gluck).

http://www.bbc.co.uk/programmes/b04ps0kz

Have just discovered that the review is not on Telegraph website yet: sorry! (OK on iPad).

I was there last night, reviewing. I was underwhelmed, I'm afraid: http://bachtrack.com/review-don-juan...-november-2014

[BBMmk2]

I was there last night, reviewing. I was underwhelmed, I'm afraid: http://bachtrack.com/review-don-juan...-november-2014

I am not surprised! My worst nightmare here!

[MickyD]

To be fair, I don't really think one can listen to incidental ballet music in a concert context, it should be part of a staged performance. I remember seeing a very good one on TV of Don Juan done many years ago at Drottningholm. Maybe it was unwise of the AAM to programme it.

[ardcarp]

To be fair, I don't really think one can listen to incidental ballet music in a concert context,

Why not???

[doversoul1]

Gergely Madaras, the conductor of this concert seems to have little experience (interest?) in early music. http://www.sco.org.uk/experience/peo...ergely-madaras

Mozart isn’t exactly early music but the AAM definitely is. I wonder if this was part of the problem of this performance, and I wonder what was behind the choice of the conductor.

Mozart may be more ‘challenging’ than Vivaldi or Telemann but I wish The AAM would explore the music that the mainstream orchestras are unlikely to do, instead of stepping into the already well populated field.

[Rolmill]

Mozart isn’t exactly early music but the AAM definitely is.....Mozart may be more ‘challenging’ than Vivaldi or Telemann but I wish The AAM would explore the music that the mainstream orchestras are unlikely to do, instead of stepping into the already well populated field.

I sympathise with the sentiment, but they are not "stepping into" into this field so much as continuing a 40 year history of performing and recording Mozart's symphonies and concertos, surely? AAM's stated aim is to "energise baroque and classical music", which I would have thought includes Mozart.

I too was disappointed in what I heard of this concert on the radio, which was the featureless (and ironically un-energised) first movement of the Flute & Harp Concerto (I switched off a few minutes into the Andantino). But I wouldn't want to suggest that this is because the AAM is unsuited to Mozart performance generally - perhaps it was just an off night, or maybe (as you suggest) the problem lay with the conductor rather than the band?

[doversoul1]

I sympathise with the sentiment, but they are not "stepping into" into this field so much as continuing a 40 year history of performing and recording Mozart's symphonies and concertos, surely? AAM's stated aim is to "energise baroque and classical music", which I would have thought includes Mozart.

Oh, I know. It is, as you say, entirely my sentiment. I am aware that there are many excellent recordings of Mozart and beyond by the AAM. I just wish they would play more works from earlier period. There is still so much music to be brought out into the world by period ensembles.

[ardcarp]

I wonder if there are any experts around with a knowledge of the development of violin playing in the 18th century? I have a dim and distant recollection that the Mannheim school of composition (e.g. gallante style, the Mannheim sky-rocket, etc) may have gone hand in hand with new ways of playing the violin. No doubt HIPP players know all about this, but surely they must change their spots (and maybe their violins and/or bows) when changing from Biber to Beethoven?

[Il Grande Inquisitor]

Gergely Madaras, the conductor of this concert seems to have little experience (interest?) in early music. http://www.sco.org.uk/experience/peo...ergely-madaras

Madaras was a replacement for Bernard Labadie, who has cancelled all concerts for the remainder of 2014, I believe. He has some form in Mozart - he conducted ENO's new production of The Magic Flute last season, reasonably well, with some 'historically informed' flavour - hard timp sticks, some vibrato-less string playing.

[MickyD]

Oh, I know. It is, as you say, entirely my sentiment. I am aware that there are many excellent recordings of Mozart and beyond by the AAM. I just wish they would play more works from earlier period. There is still so much music to be brought out into the world by period ensembles.

I quite agree, ds. In the early days of the AAM, they were constantly bringing out exciting discs of neglected composers. Much as I am one of their greatest fans (and have been ever since they were formed), I found it disappointing that their latest release was yet another recording of the Bach Orchestral Suites.

[Tony Halstead]

I quite agree, ds. In the early days of the AAM, they were constantly bringing out exciting discs of neglected composers. Much as I am one of their greatest fans (and have been ever since they were formed), I found it disappointing that their latest release was yet another recording of the Bach Orchestral Suites.

Quite so.
I would love to hear ( or play) in concert the Symphonies of Myslivicek, Krommer, Pleyel, Cipriani Potter et al, and to buy them on CD!
And yet it has to be said that - these days in our 'straitened times' - ensembles such as the AAM do have to look at their purse strings even more closely than ever before. Given that the projected AAM/ Hogwood/ Decca/ L'Oiseau-Lyre CD cycle of Haydn Symphonies foundered because ( Decca-speak) " it wasn't box-office", how on earth could recordings - even sparkling, energetic, new (old)-minted ones - of neglected composers ever hope to pay for themselves, and how could concerts featuring a high proportion of the works of lesser-known composers attract respectable, let alone sell-out audiences?
Of course, this is the cue for the 'marketing-persons' to step in...

[MickyD]

Yes, Tony, of course at the end of the day it sadly always comes down to economics, and I guess it is even harder for groups like the AAM now that they stand alone without the backing of the big boys such as Decca. Hats off to record companies such as CPO, who never seem to stop issuing discs of unknown repertoire. As for me, I would dearly love to hear some of the Wesley symphonies on period instruments. Very genial pieces, I'm sure you know them well.