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Berio, Mozart / Soudant, Mozarteum Orchester Salzburg

Release Date: 03/22/2005 
Label:  Oehms   Catalog #: 349   Spars Code: DDD 
Composer:  Luciano BerioWolfgang Amadeus Mozart
Performer:  Ingrid HasseIsabella UntererWilli SchwaigerEduard Wimmer
Conductor:  Hubert Soudant
Orchestra/Ensemble:  Salzburg Mozarteum Orchestra
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 16 Mins. 

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Notes and Editorial Reviews

The most interesting, and disturbing, piece on this program is the Berio Rendering. The rendering is of sketches that Schubert left for a symphony of “an Allegro maestoso, a two-part Andante, incomplete and unorchestrated, and . . . for a scherzo-like final movement.” Berio comments—one might say deconstructs—this material rather than completes it. This is not a Pulcinella-like reenactment in modern dress of an older music. The first movement begins sounding like a new, early Schubert symphony, with a beautifully suggestive, somewhat square, theme, whose short melody gets passed around the winds. A second, gentler theme enters, and then various dissonant strands start disturbing the surface, which gradually breaks down. The rhythm becomes Read more free, the sounds disorganized—everyone sounds increasingly lost until there is an extended, isolated trill, as if they had discovered that there is no point in going on. Then the Schubert starts up again.

The second movement starts eerily, as the orchestra hovers like a twittering hummingbird before a melody emerges. That melody is Schubertian. In the middle of the movement, this clarity breaks down again, although not rhythmically this time. Similar things happen in the last movement, which has another charming Schubertian theme. In short, this is a deliberately unsettling work. It occurred to me that the closest thing I have heard to its first movement is the famous Schnabel performance of Mozart’s K 488 in which the pianist loses his place, enters wrongly, and then wanders disconsolately until the whole thing grinds to a stop. Is modern tentativeness and obscurity being compared to classical purposiveness? I am not sure, but after listening to this piece, I found myself humming the Schubert themes.

The Mozart works that follow are given fine, though not devastatingly wonderful, performances. The Sinfonia concertante, I should add, is played in a “reconstruction of the original version” by Robert Levin, who has kept the wind parts found in 1868 while reconstructing the orchestral accompaniment in a thinner orchestration that he believes is closer to what Mozart intended. This disc is also recommended to those curious about Levin’s work.

Michael Ullman, FANFARE
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Works on This Recording

Rendering by Luciano Berio
Conductor:  Hubert Soudant
Orchestra/Ensemble:  Salzburg Mozarteum Orchestra
Period: 20th Century 
Written: 1989 
Venue:  Live  Grosser Saal, Mozarteum, Salzburg 
Sinfonia concertante for Winds in E flat major, K 297b (K Anh 9) by Wolfgang Amadeus Mozart
Performer:  Ingrid Hasse (Flute), Isabella Unterer (Oboe), Willi Schwaiger (French Horn),
Eduard Wimmer (Bassoon)
Conductor:  Hubert Soudant
Orchestra/Ensemble:  Salzburg Mozarteum Orchestra
Written: 1778 
Venue:  Live  Grosser Saal, Mozarteum, Salzburg 
Symphony no 35 in D major, K 385 "Haffner" by Wolfgang Amadeus Mozart
Conductor:  Hubert Soudant
Orchestra/Ensemble:  Salzburg Mozarteum Orchestra
Period: Classical 
Written: 1782; Vienna, Austria 
Venue:  Live  Grosser Saal, Mozarteum, Salzburg 

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