Customer Reviews

Mozart: Late Symphonies: Nos. 25, 29, 35, 36, 38, 39, 40 & 41

5 star:		(5)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

The new Trio series has to be one of the most welcome and affordable additions to the classical music market. This set shows why. For a budget price one can get pretty much all of Mozart's best loved symphonies, in some of the most highly regarded performances made of them. Bernstein's lush, relaxed, and very romantic interpretations may not be for all tastes, especially those who have become used to period style. But for those who feel Mozart would have preferred his music performed with the warmth and beauty that is missing from the rather cold, analytical period interpretations that have become the norm, these are for you. I cannot recommend this set more highly.

Leonard Bernstein thought that every composer was a romantic because he was. These big, heart-on-sleeve performances of Mozart's great late symphonies use the Vienna Phil. at almost full force--they could slip into the Brahms First without adding personnel. Bernstein lived long enough to theoretically be influenced by the period-instrument movement, but his allegiance never shifted. He belongs with Karajan and Bohm as the last conductors for whom Mozart should sound "important."

At its best, this approach yields romantic depth, perhaps not what Mozart intended but valid in its way. I would rather listen to Bernstein's Mozart symphonies than Karajan's (tending to be slick and glossy, although better than reputed) or Bohm's (brisk and faceless). A new listener should know in advance that the slow movements will be expressively drawn out and the minuets often slow and heavy-footed (these dancers are wearing boots). But Bernstein believes in this music, and he is always genuine. That ocunts for a lot with a composer who used to be played as if he were a porcelain doll and is now too often played as if his divine music were written by a Roccoco computer. Four stars.

What a great album we have here. Leonard Bernstein conducts the later symphonies of Mozart, which are considered to be his most mature and his greatest works for full orchestra. This album is worth the price and a treasure to own for your extensive classical music collection. If you appreciate classical music, you'll truly enjoy this album. Everyone knows that Leonar Bernstein ranks among one of the best conductors of the 20th century, right up there with the great names of Herbert Von Karajan, Bruno Walter, Sir Neville Marriner, all who have held their own when it comes to Mozart's music. Karajan I feel is not quite as good when it comes to Mozart's symphonic works. Bruno Walter and Sir Neville Marriner have long surpassed Karajan in the area of Mozart symphonies. Indeed, if you get the chance be sure to check out symphonies conducted by either Bruno Walter or Sir Neville Marriner. Marriner and the Acadamy Of Saint Martin In The Fields did mostly Mozart and provided the music of the 1984 Milos Forman film Amadeus.

The reason this album is so good is Leonard Bernstein conducting. As a conductor and a musically atuned soul, he seems to really interpret these symphonies perfectly. He gets Mozart. He has captured every note, every vibrato, roulade, flowing lines and bouncy but balanced joy in every allegro movement, such as the first movement of the Prague Symphony No. 38. For contrast, he understood the substance and darkness that seems to be written into the Allegro of the Symphony No. 25. The first movement is meant to sound furious, anguished and complex, and fast in a darker sort of mood. It's one of those rare moments in which Mozart foreshadows the Romantic Era that would begin with Beethoven. Mozart would also do this with the andante of his 21st piano concerto and the opening movement of the Piano Concerto No. 20. The last symphonies 40 and 41, "Haffner" and "Jupiter" are regarded as Mozart's most mature works for the symphony. The orchestra is more panoramic and produces a less lighter texture. The music is a fully developed Mozart in his later years. The Jupiter is his grandest. Its name conjures up the vastness of the planet Jupiter or the majesty of the Roman god Jupiter. Get this album if you're a fan of Mozart and a fan of the conductor Leonard Bernstein who aptly conducted the New York Philharmonic for many years and the Berlin Philharmonic towards the end of his life.

This has to be one of the greatest Mozart bargains on the planet! The performances are absolutely wonderful-- Bernstein is superb in Mozart, and the Vienna Philharmonic has never sounded better. Each disc is filled to the brim, the digital recordings are excellent, and the price is a steal. I cannot imagine a better introduction to Mozart, and for seasoned collectors there is a lot to savor here. Very, VERY highly recommended!!!

My first reaction was "25 and 29 were *late symphonies?" He was basically a kid when he wrote them! However, who cares about labels--these are some of Wolfie's best works. And in the hands of Bernstein and the Vienna Philharmonic, they achieve a polish and grace that's hard to beat. Recorded in the gorgeous acoustical space of the Musikverein, they sound ravishing too. So what's the problem?

Well, nothing, really. If you want these works well-played, in you-are-almost-there sound, go for this set. The price is right.

But there's something missing. Lenny doesn't really *say* anything new in these readings. There's a certain genial autumnal quality, like a man looking backwards, and I'm sure that's what Lenny was doing at the time these were recorded (late 80s). Plus, the Vienna Philharmonic, with a sound that's the opposite of bright and a tuning that's lower than most other orchestras, add to the slightly somber feeling. This is not bright, singing Mozart but rather a more reserved composer.

But there's something more to the way these works come across. With many performances of chestnuts, one feels like the conductor and orchestra are discovering the work afresh. Bruno Walter's performances of these same symphonies, recorded with the New York Philharmonic and the Columbia Symphony Orchestra in the mid-50s to early-60s, have this urgent quality. At their best, they sound like they're being made up on the spot. It's joyous music-making.

Bernstein's performances here sound almost the opposite. They feel as though he, and we, already know this music, and we are giving it one more go 'round. It's like he's coming back to old familiar friends for a final, wistful reunion. The prospect of new discoveries with this music wasn't even on his agenda. This is very different than, say, his approach, also late in life, to the Tchaikowsky 6th, also on DG.

The result is readings that sound beautiful and are seductively recorded, but don't have a lot of freshness or spark to them. (His reading of Symphony No. 29 is particularly lacking in spirit.) I'd recommend this set as a supplement to other, more vibrant recordings, such as the aforementioned Walter, Brüggen, Mackerras, and even Bernstein's own earlier readings on Sony. These CDs won't add anything to your appreciation of the works. But they sure is purdy.

If you want to get the best of Mozart with a fabulous composer than this cd is the one for you. I am not a music critic, just a biology major who studies well listening to these classics -- they really help keep me focused!! Awsome symphonies at a great price -- what could be better?!?!

This 3 CD collection is perfect for those long Sunday drives. If you are a Mozart fan you will not be disappointed. The style of the conductor is subtle, without too much vibrato, which makes the music sound timeless compared to mid-century recordings.

A bargain set, which whilst quirkily performed (in places), is a never-the-less continually entertaining to re-visit.

I particularly found Symphonies 25 and 40 to be very nice to listen to. The the rest of them I found to be ok, maybe since I am not a big fan of classical music. I bought this cd because I went to a symphony that played Mozart no. 25 which I enjoyed very much. Hence I decided to try out his other compositions.