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Mozart: Concerto for Flute & Harp, Symphony No. 31 "Paris", Sinfonia Concertante K. 279b

Editorial Reviews

All Music Guide - James Manheim
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 ...
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Editorial Reviews

All Music Guide - James Manheim
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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Product Details

  • Release Date: 3/14/2006
  • Label: Harmonia Mundi Fr.
  • UPC: 794881798520
  • Catalog Number: 901897
  • Sales rank: 184,099

Tracks

Disc 1
  1. 1–3 Sinfonia concertante for oboe, clarinet, horn, bassoon & orchestra in E flat major, K(3) 297b (K. Anh. C 14.01) (spurious) - Wolfgang Amadeus Mozart & Freiburger Barockorchester (28:00)
  2. 4–6 Concerto for flute, harp & orchestra in C major, K. 299 (K. 297c) - Wolfgang Amadeus Mozart & Freiburger Barockorchester (28:35)
  3. 7–9 Symphony No. 31 in D major ("Paris"), K. 297 (K. 300a) - Wolfgang Amadeus Mozart & Freiburger Barockorchester (15:30)
  4. 8 Symphony No. 31 in D major ("Paris"), K. 297 (K. 300a): II./2. Andante (Anhang / Deuxième version) - Wolfgang Amadeus Mozart & Freiburger Barockorchester (5:33)
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Album Credits

Performance Credits
Gottfried von der Goltz Primary Artist
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