Customer Reviews

Mozart: Symphonies Nos. 40 & 41

5 star:		(9)
4 star:		(0)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

Yep, this is Bernstein: not unpolished, but not willing to let polish get in the way of emotional drama. However, as other reviewers pointed out, this isn't the melodramatic, overromantic Bernstein of the later years either; these performances manage to almost perfectly combine emotion and technique. Bernstein's sense of tempi and phrasing is top-notch, and the emotional sensitivity he gets out of the always-adept VPO is admirable, particularly in the slow movements. What really makes this CD a winner, though, is that both of these brilliant symphonies have been recorded almost to death over the years, and yet Bernstein still manages to make them sound fresh and new. He clearly knows what the music is trying to *say* to its listeners, and he and the orchestra work in such a manner that the music does not just exist, it *communicates* with listeners. To put that another way: some recordings of these symphonies sound like they're being played by an orchestra, and others sound like the music is creating itself. This CD definitely falls into the latter category. In particular, the finales of both symphonies are stellar, and I've never heard a better slow movement of the "Jupiter." You can't go wrong with this one.

This CD is an absolute must for any serious music lover. True, perhaps the sound quality was not exemplary, but as the other reviewers pointed out it is more than satisfactory. But the main thing about this recording is the performance. It is filled with pathos and drama, far removed from the stuffy versions of Mozart currently being put out; the finale of Jupiter is brilliantly performed, capturing the true magnificence of Mozart's fugato treatment, and the g minor symphony is appropriately dark and dramatic, certainly very different from Schumann's vision of "Grecian simplicity".

I concur with all the other reviewers: although the sound is not quite up to par, it is more than adequate; but the performances are absolutely top-notch. Bernstein's tempos are perfect, all the repeats are taken, everything is infused with dramatic tension. The G minor is appropriately dark and elegant, its unbearable grief kept in check by an Apollonian temper. The Jupiter is positively...Jovian. This is, overall, my favorite recording of these two magnificent works (followed closely by Britten's and Klemperer's). A must for your classical collection.

I think Bernstein's fans have gone overboard here. These two Mozart performances, recorded live in 1984-85, find the conductor in a good mood. Bernstein's Mozart was never extreme, and he took special care to find expression in scores that have very few expression markings by the composer. Compared to similar accounts over the years, these readings are less smoothed-over than Karajan's, less militant than Bohm's, but also less buoyant than Beecham's and less lovig than Walter's. Anyone who admires the Vienna Phil. will certainly find them to be stylish and warm (much more so than when they recorded all the Mozart symphonies under Levine during this same peirod); this is very congenial Mozart where eveyr phrase is kissed.

Overall, I'd place Bernstein's G minor in a league with Britten and Walter, the Jupiter in a league with KLemperer, although in the long run Klemperer's Mozart is more imposinb and memorable. For anyone who hasn't been totally won over by period practice, this CD is very satisfying without being any kind of apotheosis.

For once I completely agree with the respected Penguin Guide. They give this performance their Rosette (their highest honor), and I couldn't agree more. The sound is not up to DG's standards, but is adequate. But the performance is one of a kind. It is playful, intense, and tender in different spots. The finale of symphony 41 is outstanding as is the slow movement from 40. I've never heard them played any better. Also, this disc is at a budget price.

Mozart's last two symphonies are interesting in that they reach a level of intensity not usually associated with the majority of his other works. I guess people love Mozart for his emotional health, cleaness, mathematical precision and utter grace. The last two symphonies of Mozart, can be seen as a meeting place of Mozart and Beethoven where Mozart's purity of form meets the angry Beethoven's sense of struggle.

It is surprising that conductor Bernstein does such a fine job with the task of providing balance to these works. After all, Bernstein wasn't known for restraint, and he certainly was never considered a great conductor of Mozart.

Comparisons: Bruno Walter; Toscanini

Yes, the orchestral playing is quite impressive. Yes, Bernstein truly demonstrates his love for this music through this performance. Yes, but...
After listening to both works, it was like walking onto a train at rush hour expecting the express train yet finding out later to my dismay that it is really a local train.
This is Mozart. You need more thrust, or spontaneity, or whatever you want to call it. Berntein`s tempi are too stilted for me, especially the beginning of No. 40. Although he went a little overboard in his diatribe, I believe ELN was correct in explaining the complete disappearance of emotion and urgency from the first movement of No.40 because of its slow pace (8 3/4 minutes).
Sorry. All the plusses I mentioned above just pale compared to the unnecessary plodding of some of this CD`s movements.
This CD just doesn`t cut it. Especially with the huge competition out there re: these two symphonies.

This is surely one of the greatest performances in Mozart's final two symphonies. Bernstein may have temporarily deviated from his usual romantic, overexpressive routine, and settled being simple and solid as any classical era musicians, but how he worked with Austria's premier orchestra and sort of emphasizing the classical age when emotion was apparently limited makes it an authentic recording. Lenny may be good exposing his romantic expression, but this performance and several other Mozart and Haydn albums proves he's as high as any European maestro such as Bohm and Karajan.

I usually agree with the Penguin guide which gave this CD a Rosette denoting something special.What's so special? the sound is not so hot nor is the performance .Listen to Bernstein and then Menuhin& you'll see what I mean.Menuhin's recording is a cross between BIG orchestra and period interpretation giving us the best of both with sound that is both transparent and full.These can be purchased along with the 38th & 39th(equally fine!)and other pieces as part of a multiple disc set.If you must,buy it used -its so inexpensive!These Menuhin recordings also received well deserved Rosettes and should be in every Mozart lover's collecion.

Ok in some ways, it's completely hilarious that a company that didn't even exist 20 years ago, asks me, a mere consumer of its products, to REVIEW one of the giants of 20th Century Music who is conducting a work of one of the giants of Classical Music. But, I'll give it a try. I love Mozart (was he an alien?), AND Bernstein (a genius).

I wish readers to know that I am a relative newcomer to classical music, (played guitar for years, off and on, while 'appreciating' classical stuff). A whim of a purchase 5-6 years ago, 'Mozart in the Morning CD', was a sort of doorway. I loved how invigorating his music was, and listened intently, over and over again, to this CD. Also, I began learning classical piano two years ago. The results of my study and effort have been amazing, in that my musical perception has enlarged. What I hear and understand, the patterns and how they are put together, thrills me. This allows me to understand Mozart better and better. I think.

The only statement I can make with confidence about Bernstein's *interpretation* of Symphony 40 (which I have listened to at least 300 times) is ... he's definitely a romantic. Ok I confess I bought a cheapie 'Mozart Anniversary Edition' CD from Walmart, and I played it into the ground. So it is the standard I compare other performances with. This particular CD features the conductor Libor Pesek. And I must confess, I like his interpretation better than Bernstein's!!! Oh I can't believe I actually said that.

Ok... Molto allegro...Bernstein's too slow. In my humble opinion (I have but one semester of music theory!) this work - in its entirety - is about passion, not necessarily sadness. I believe Pesek understood that, as evidenced by the brisk tempo he directs with. I find this tempo exciting, and if I may suggest, closer to the *agitation* Mozart desired expressing.

I will leave it at that...for the very few souls out there who find comparing the different versions/interpretations of Mozart's 40th Symphony exciting (graduate students in conducting, or?), I recommend this CD. It is highly educational, simply by listening!!!