Bal 16.09.23 - Mozart: Symphony no 35 in D (K385) "Haffner"

[gurnemanz]

The Bruno Walter Sony "Legendary Interpretations" of late Mozart Symphonies was, I think, my first CD version of these works, indeed among the first CDs I bought in those early days. The 3 CD set, which includes a rehearsal disc of the Linz, was issued in 1991 and I have enjoyed playing them over the years - just replayed Haffner with great pleasure.

Quite a bit later I acquired the Pinnock box as a complete set on DG Archiv - also v good - and have miscellaneous other recordings, including Toscanini live from the Queen's Hall, London in 1935. with BBCSO (BBC Legends re-issue). A sparkling performance - he relishes the trio.

[richardfinegold]

I always preferred the recorded Decca sound that the AAM enjoyed.

Was that a Decca analog or digital?

[smittims]

Quite so. But I wouldn't expect a BaL to go into all that! It raises the thorny question of what is, and isn't, a Mozart Symphony , which Neil Zaslaw and Chris Hogwood grappled with . Eve then , they later had to admit they weren't certain about the two 'Lambach' symphonies! My own private theory is that Leopold and Wolfgang had a laugh over them and said 'Ha,ha, this 'll confuse those 20th-century musicologists!'

[MickyD]

I wonder if the review will mention the two versions of the work, with and without flutes and clarinets. Chris Hogwood recorded both as part of his compendium. I too like the sound of the AAM as recorded by Oiseau-Lyre, having spent some days ow listening to their Haydn, which is equally superb. I think Hogwood cultivated a warmer sound anyway where Pinnock and the English Concert are brighter. I belieev the two ensembles contains several of the same principal players. The personnnel of the AAM in the early 'eighties is like a roll-call of the British period instrument movement, with Roy Goodman and Nicholas MacGegan faces in a crowd. No wonder it was a fine orchestra.

For all that, my favourites remain Toscanini, possibly the first recording of the work, with tempi not far off HIPP, and Beecham , who recorded it twice. Herbert I think did it three times .

I had forgotten about the two versions recorded by Hogwood. What a cycle that is - thankfully I have the box in its original incarnation with all the precious notes, same goes for the Haydn symphony boxes. Yes, the players alternated all the time between the AAM and EC plus many other bands too...such as the English Baroque Soloists, Amsterdam Baroque Orchestra etc . I think Hogwood was very fortunate to have Peter Wadland as his producer, plus the Decca engineers. I remember him saying that he could always tell an AAM recording if listened to blind, despite the same members of personnel in other recordings.

[Bryn]

I had forgotten about the two versions recorded by Hogwood. What a cycle that is - thankfully I have the box in its original incarnation with all the precious notes, same goes for the Haydn symphony boxes. Yes, the players alternated all the time between the AAM and EC plus many other bands too...such as the English Baroque Soloists, Amsterdam Baroque Orchestra etc . I think Hogwood was very fortunate to have Peter Wadland as his producer, plus the Decca engineers. I remember him saying that he could always tell an AAM recording if listened to blind, despite the same members of personnel in other recordings.

Sorry, I forget where I found them now but a few years ago I found Neal Zaslaw's programme notes online. Sadly, today, an Internet search proved fruitless. His "Mozart's Symphonies: Context, Performance Practice, Reception" is rather expensive.

[smittims]

I was fortunate to find all the AAM Mozart symphonies in second hand LPs, collected over a period of nearly thirty years, two of the volumes amazingly still cellophane-sealed. Yes Zaslaw's notes are most rewarding, and I agree that Peter Wadland desrves to be remembered alongside the other heroes of that project, as it was he who revived the Oiseau-Lyre brand in the 1970s with the 'Florilegium ' series.

[richardfinegold]

A shout here for the genial Josef Krips / Concertgebouw recording (Of course it won’t get a look in during the programme )

I really enjoy that Krips set

[Darloboy]

A work that hasn't been covered by BaL since January 1987. I'm afraid I don't know which recording John Warrack chose then. Personally, unless Goltz or Jacobs get round to recording this, I think I'll be sticking with Pinnock. I also like Mackerras' SCO & Norrington's Stuttgart modern instrument recordings. And I prefer Böhm over Beecham in big band recordings.

[Barbirollians]

Soft spots here for VPO/Bohm ( about the third classical record I owned with 32 and 36) , Walter and Klemperer.

Would choose the pitch perfect Mackerras as my winner.

[MickyD]

Was that a Decca analog or digital?

The Mozart series was digital - earlier AAM recordings from the seventies and early 80s were analog, but my goodness, they still sound superb!

[MickyD]

I was fortunate to find all the AAM Mozart symphonies in second hand LPs, collected over a period of nearly thirty years, two of the volumes amazingly still cellophane-sealed. Yes Zaslaw's notes are most rewarding, and I agree that Peter Wadland desrves to be remembered alongside the other heroes of that project, as it was he who revived the Oiseau-Lyre brand in the 1970s with the 'Florilegium ' series.

I remember eagerly awaiting each new Florilegium release - so many fascinating things to be discovered. And the LP jackets were so beautiful, with full notes included inside.

[Retune]

Soft spots here for VPO/Bohm ( about the third classical record I owned with 32 and 36) , Walter and Klemperer.

Would choose the pitch perfect Mackerras as my winner.

Böhm (and the BPO) also introduced me to this symphony, on a maxed out DG Walkman cassette with 31, 40 and 41.



I wonder if the Orchestra of the 18th Century with Brüggen will feature today? (DG's primary choice for their Mozart 225 megabox, supplemented by Abbado's Orchestra Mozart).

[Bryn]

Ah well, the final four now revealed. Whichever 'wins', I will not be adding it. Too late for that.

[Alison]

It was always going to be Abbado. Fair enough.
Harnoncourt at his worst there in my opinion.

[richardfinegold]

Which Abbado?