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Description
Mozart - Symphonies Nos. 35 'Haffner' & 41 'Jupiter' / Academy of St Martin in the Fields, Neville Marriner / EMI Classics Audio CD 2004 Stereo / UPC /// Label: EMI Classics – / Series: Encore / Format: CD, Compilation / Country: Europe / Released: 2004 / Genre: Classical /// Tracklist: 1 - 4 Symphony No. 41 in C K551, 'Jupiter' 32:33 5 - 8 Symphony No. 35 in D K385, 'Haffner' 25:33 /// Conductor - Sir Neville Marriner
Item Weight : 3.21 ounces
Date First Available : April 7, 2020
Number of discs : 1
Customer Reviews: 4.4 4.4 out of 5 stars (11)
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Top Amazon Reviews
This music was recorded in Studio 1 at the legendary Abbey Road Studios ([...]). I'm a casual classical music fan, and was looking for a suite of Mozart's best symphonies - not just snatches of "greatest hits" movements lifted from symphonic context. It's remarkable how many of these symphonies are familiar. Each CD presents 2 symphonies, and runs approximately 60 minutes. The play times are perfect for my 30 minute drive to work, when I can be temporarily immersed in Mozart. Packaging is the one thing I dislike about this set. While the artwork is modern, the set comes in a clumsy 3-CD jewel case where the middle CD typically falls loose from the plastic prongs. Thankfully, we don't listen to packaging. Clarity, richness, and energy characterize each recording. Abbey Road sound engineers worked their magic so it's unnecessary to constantly adjust the speaker volume to correct for loud and soft dynamics. This is something I'm not accustomed to with other live recordings, where you might strain to hear an opening and then get blown away when the orchestra suddenly punctuates a louder section of a piece. Sir Neville Marriner, a Grammy award winning classical music superstar, conducts these symphonies with precision, drama, and expressiveness. Never boring, this is Mozart at his finest - bold, brilliant, and energetic.
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Reviewed in the United States on April 8, 2011 by Ken Palmer
It was pretty much what I feared - an inexpensive lack-luster performance to fill a hole in my collection. Mozart should be very exciting and musical, not mechanical - I know - I've played enough of it.
Reviewed in the United States on March 19, 2013 by Donald W Schroeder
Nobody plays Mozart better than Neville Marriner @ The Academy of St. Martin in the Fields. I really bought this to have Symphony 35/36 in my collection. My two new Mozart symphony favorites after hearing it for the first time @ Tanglewood with the Boston Symphony Orchestra. The entire collection of performances are fantastic!
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Reviewed in the United States on September 20, 2016 by AJCook
La numero 36 è la migliore,le altre a parte la 35 sono buone.Mi servivano per completare l'eccellente ciclo Mackerras/Telarc,che resta il migliore per le sinfonie dalla No.1 alla No.35!Evitate di comprare Mackerras/Linn,fanno troppo rumore a causa dell'impiego spropositato di ottoni!!!
Reviewed in the United States on May 4, 2010 by L'orecchio
I have about 300 classical CD's--almost all of them from what I think are the best manufactures of top quality recordings (RCA Red Seal, PILZ, Decca and Deutsche Grammophon). These EMI CD's have the same high caliber sound. And not so incidentally, I believe these 6 symphonies are the best ever collection of classical music.
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Reviewed in the United States on February 28, 2016 by Leemore
Great symphonies (what else could Mozart do?), great orchestra, convenient and great price.
Reviewed in the United States on December 17, 2017 by Adjudged
People like different things in their Mozart. Some cannot give up the 50+ year old recordings on which they were suckled. Others want what they imagine the music might have originally sounded like, which can sound thin and harsh to modern ears. Some dismiss any performance unless the conductor has been elevated to the pedestal of "Great Maestro". I like Mozart performed by a modern chamber orchestra. In principle I favour performances from the territory bordered by Germany and Hungary, but in practice recordings from the Anglosphere are much cheaper and more accessible, so I more often listen to Marriner and Menuhin. Listeners who are in the same boat as me may find a comparison of their recordings of the late Mozart symphonies useful. Marriner is known for works from the Classical period recorded with the Academy of St. Martin in the Fields. This orchestra of experts always sounds clear, clean and beautiful, but Marriner's interpretations are occasionally glib, perhaps a consequence of the sheer amount of material he has recorded. Menuhin is better known as a violinist. His conducting is less esteemed, but he has a special gift in Mozart (see his 1960s recordings with the Bath Festival Orchestra). In contrast to the sweet, romantic sound of his violin, when he conducts Mozart the performances are light and lithe. To generalise the differences between these alternatives, Marriner is generally more plush in sound and relaxed in rhythm, with broader slow movements. Menuhin's sound is more string-focused and a bit harder-edged; his tempos are on the quick side and he skips more repeats in the score. Symphony No. 35 "Haffner" (K385) - Menuhin Marriner is just too easy-going, whereas Menuhin brings vital urgency to the outer movements. He also takes the minuet more deliberately, which is very telling. In neither recording is the timpani in the finale prominent enough (it's louder in Marriner). Symphony No. 36 "Linz" (K425) - Marriner In contrast to the above work, it is Marriner's approach which is better here. Menuhin seems rushed in the first three movements, whereas Marriner has an appropriate portentous weight, especially important in the slow movement. Marriner also seems to produce a bit more light and shade in mood and coloration, and a grander end to the finale. Symphony No. 38 "Prague" (K504) - Menuhin? In the first movement, Menuhin takes the opening adagio more broadly and dramatically, then takes the allegro with a sense of urgency. Marriner by contrast seems to be on autopilot here. On the other hand, Menuhin's slow movement is just not slow enough, so in the end neither is entirely satisfactory. Symphony No. 39 (K543) - No winner This symphony features a number of moments which sound Brahmsian to modern ears, so I imagine this work must have been an important influence on the later composer. Both conductors are nicely dramatic in the introduction, though Menuhin is perhaps more driven in the allegro. Marriner's vigorous finale is the more impressive, though in this work one of the St. Martin's winds seems to be a bit sour. Both of them are too fast in the slow movement (Menuhin is the fastest), which for me is a fatal flaw. Symphony No. 40 (K550) - Marriner Both conductors start out pretty well. Marriner takes the substantial repeat in the slow movement, which is emotionally effective here and makes the whole work larger in scale. Menuhin seems to lose a bit of interest in the last two movements, whereas Marriner is a bit quicker and with a convincing stalwart intensity. This is the outstanding performance of this set. Symphony No. 41 (K551) - Marriner It's hard to pick a winner here, as each is effective in his own way. Menuhin's athletic take on the first movement beats Marriner's more comfortable, less spontaneous approach, but after this Marriner pulls ahead, with more gravitas and a darker sound in the slow movement, and a more telling flourish at the end of the minuet. Marriner is more monumental in the last part of the symphony, which I think most would agree is a desirable quality here. His sweet orchestral sound makes a nice contrast with the more stentorian passages. On the other hand, Menuhin does get more contrast in the section alternating quiet winds with vigorous strings and brass. Ultimately I find Marriner more convincing. As you can see from the above survey, Marriner comes out ahead of Menuhin, though Menuhin is no poor choice. A wider search will be needed for satisfactory recordings of symphonies 38 and 39.
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Reviewed in the United States on March 6, 2014 by Neil Ford