Notes and Editorial Reviews
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
"Zoon has served as principal flute of the Royal Concertgebouw Orchestra, Boston Symphony, and Chamber Orchestra of Europe, and for the past few years he’s been grooming his solo career in Europe. He’s done research on making technical improvements to the modern flute, so perhaps it’s no surprise that he’s also so thoroughly familiar with the 18th-century flute that he plays with superb finesse. His tone in these Mozart concertos is largely vibratoless and often quite woody, the low register being distinctly woodier than the clear, gleaming upper notes. (The pitch is about a quarter-step lower than the modern standard, which adds warmth
to the low notes without diminishing the brilliance of the top.) Zoon’s playing is light and easy, with remarkably birdlike trills, liberally ornamented solo lines, and cadenzas of greatly varied character: pensive in the slow movement of K 314, teasing in that concerto’s finale, florid and burbling in the first movement of K 313. With fully sympathetic support from Martin Pearlman and Boston Baroque, this version easily gains an enthusiastic recommendation.
Instead of the most logical coupling, Mozart’s Concerto for Flute and Harp, Pearlman and Telarc deliver the “Jupiter” Symphony (with Zoon sitting in as principal flute). Pearlman makes the strongest possible contrast between the first movement’s macho opening phrase and the plaintive response, and through the course of the movement he similarly draws forceful work from his period-instrument orchestra when the brass are in play, but insists on a light touch when they aren’t. Grace and relaxation mark the slow movement, although what stand out are the darker moments, in which Pearlman evokes the passages of quiet menace in Don Giovanni. The rest of the symphony comes off splendidly (with the Minuet not taken at the breakneck pace that was popular in historically-informed circles not too many years ago).
The mellow sonics in the SACD surround format display the musicians to best advantage, with natural perspective and modest rear-channel ambience. Yet another fine Boston Baroque release on Telarc; by this time, who could be surprised?"
James Reel, FANFARE
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