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Most Helpful Customer Reviews
9 of 9 people found the following review helpful:
5.0 out of 5 stars
One of the best Mozart performances commited to disc.,
By A Customer
This review is from: Wolfgang Amadeus Mozart: Flute Quartets - Barthold Kuijken / Sigiswald Kuijken / Lucy van Dael / Wieland Kuijken (Audio CD)
This disc was recorded nearly 20 years ago, and has never beensurpassed. All the other flute quartets recordings lack the plea- sure that this players radiate , and the strait-laced performance captures the exquisiteness of the score, often dismissed as hollow. The Kuijken brothers are on top form and have the fortune to be superbly recorded. Another winner for the excellent bel- gian label, Accent.
5.0 out of 5 stars
Eminently Lovely - Crowning Achievement,
By
This review is from: Wolfgang Amadeus Mozart: Flute Quartets - Barthold Kuijken / Sigiswald Kuijken / Lucy van Dael / Wieland Kuijken (Audio CD)
Wolfgang Amadeus Mozart (1756 - 1791): Flute Quartets K.285, K. 285a, K. 285b and K.298. Performed by: Barthold Kuijken, transverse flute; Sigiswald Kuijken, violin; Lucy van Dael, viola; Wieland Kuijken, violoncello. Recorded in March 1982 at Beaufays Church, Belgium. Originally published in 1982. Re-released in 2007 as Accent ACC 10025. Total playing time: 51'05".
Mozart's music for flute always seems to cause a twofold reaction. On the one hand, the music is undeniably beautiful, balanced and just a little more than what could be expected from the "gallant" style. On the other hand, note-writers are at pains to point out that Mozart apparently did not like the flute as an instrument and that in the case of the Flute Quartets, two of the four have not even been proved to be genuine Mozart. I think this Accent CD makes a wonderful plea for this music despite the doubts of booklet author Pieter Andriessen. The music is taken "seriously" by the four performers, producing a stringent, but eminently lovely version, with not only Bart Kuijken in top form at the flute, but also with the three string players providing a sheer amazing amount of intelligent accompaniment in an acoustic which could hardly be more transparent and more pleasant to the ear. The age of the 1982 recording nowhere becomes apparent, the engineering is as superb as the playing - an absolutely crowning achievement within the Kuijkens' career as three of the foremost proponents of the "period performance" school.
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