ORCHESTRAL CHOICE
Mozart’s ‘Paris’ leads an exhilarating set of readings
The Akademie für Alte Musik Berlin plays with clarity and sophistication, says Sarah Urwin Jones
Mozart
Symphonies Nos 31 (‘Paris’) and 35 (‘Haffner’); Oboe Concerto*
*Xenia Löffler (oboe); Akademie für Alte Musik Berlin/Bernhard Forck
Pentatone PTC 5187 059 64:50 mins
There can be no denying that Mozart’s second stay in Paris was a somewhat tumultuous period. At 21, he was no longer the child prodigy of his successful concert tour some 15 years earlier and Parisian reception was cool. Ever-canny, and despite his frustration at this new state of affairs, Mozart adapted his writing to Parisian taste.
The Symphony No. 31 in D Major (‘Paris’) was his first real French success, begun in stately fashion, and not without a certain elegant pomp, to appeal to an audience which was very different to that of his native Salzburg. The excellent period instrument Akademie für Alte Musik Berlin, under concertmaster Bernhard Forck, treat it with due sophistication and restraint, in contrast to the rather dramatic Symphony No. 35, which bookends this recording.
Written some few years after Mozart’s Paris period, the result of a commission to celebrate the raising to the nobility of one Sigmund Haffner extrapolated as a symphony, it retains the festivity of its original purpose, the opening played by the Akademie with an invigorating bounce and a lovely depth of sound. The cleanness of tone on the recording is fine, with every orchestral from . It’s there too in the Oboe Concerto, the understated and poised. The Akademie’s great clarity in this recording gives a frequently exhilarating sense of the finesse in Mozart’s musical architecture.
