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  • Symphonies 38 & 39
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Symphonies 38 & 39


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Audio CD, October 12, 1990
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$16.98 + $3.99 shipping Only 1 left in stock. Ships from and sold by palderman6.

Frequently Bought Together

Symphonies 38 & 39 + Mozart: Symphonies 40 & 41
Price for both: $26.98

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1. Sym No.38 in D, K.504 'Prague': 1. Adagio-Allegro
2. Sym No.38 in D, K.504 'Prague': 2. Andante
3. Sym No.38 in D, K.504 'Prague': 3. Presto
4. Sym No.39 in E flat, K.543: 1. Adagio-Allegro
5. Sym No.39 in E flat, K.543: 2. Andante con moto
6. Sym No.39 in E flat, K.543: 3. Menuetto (Allegretto)
7. Sym No.39 in E flat, K.543: 4. Finale (Allegro)

Product Details

  • Audio CD (October 12, 1990)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Polygram Records
  • ASIN: B00000412L
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Best Sellers Rank: #84,222 in Music (See Top 100 in Music)

Customer Reviews

4.5 out of 5 stars
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Most Helpful Customer Reviews

4 of 5 people found the following review helpful By Chi va Piano on April 6, 2012
Format: Audio CD
Mozart's 38th symphony is not only (in my opinion) Mozart's greatest but possibly the greatest of all symphonies, especially for its first movement. Gardiner plays it with exactly the right-sized orchestra and at the tempos that express its drama as it should, without excessive weight, naturally, with a degree of acidity that will make you salivate while listening. And the sound is fabulous. The 39th is also without equal among the recordings I know (Davis, Böhm, Karajan, Walter, Toscanini, Tate ...)
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2 of 2 people found the following review helpful By Roy Karlen on February 26, 2013
Format: Audio CD Verified Purchase
Gardiner conducts these works with great power and drama. Bold and richly recorded. Orchestra plays with precision and tempi are well chosen.
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Format: Audio CD
This disc, well recorded in 1988, couples two late Mozart symphonies in performances of weight and power which more than match those with traditional modern instruments.

Gardiner, on this disc, defies expectations of period performances by taking a steady approach to basic tempi. Less surprisingly he observes all the repeats which greatly extend the playing lengths of the works and adds that sort of stature. Within those parameters he takes a notably dramatic line, especially with the Prague symphony by underlining the dramatic dynamic contrasts and taking every opportunity to maximise the percussive or cutting effects of the timpani and trumpets.

Gardiner, at that time, was also associated with the late Mozart operas and it seems as if the operatic stage dramas have migrated to these symphonic works. This is not an unlikely situation as it is quite clear when listening to extended sets of works such as the complete symphonies or piano concertos that Mozart really starts to sound like Mozart when his instrumental music becomes more vocal in character. That ties in exactly with his development as an operatic composer.

By using period instruments Gardener is able to ensure that all details can be heard easily, especially the important dialogues between woodwind and strings which so often become submerged when modern instruments are used.

These two performances are unusually weighty and dramatic in concept and are quite the match for similar approaches with modern instruments but with the additional clarity possible with period instruments.

I would suggest that if you are interested in such a view of Mozart in these two symphonies, then this is a very fine example to consider as a purchase. The playing and recording are both of a high order.
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