Mozart: The last three symphonies
Recorded live in Rotterdam (de Doelen), Netherlands, on 4 March 2010.
Orchestra of the Eighteenth Century, Frans Brüggen
Awards:
-
Diapason d’Or de l’Année, 2014, Winner - Musique symphonique
Brüggen, once in the forefront of historically informed practices, has gradually been ploughing his own furrow; and these discs offer examples of his current thoughts that nonetheless still...
Mozart: The last three symphonies
Recorded live in Rotterdam (de Doelen), Netherlands, on 4 March 2010.
Orchestra of the Eighteenth Century, Frans Brüggen
Purchase product
Awards:
-
Diapason d’Or de l’Année, 2014, Winner - Musique symphonique
Brüggen, once in the forefront of historically informed practices, has gradually been ploughing his own furrow; and these discs offer examples of his current thoughts that nonetheless still...
About
More than three decades have elapsed since Frans Brüggen set down his earlier visions of Mozart's symphonies with his Orchestra of the 18th Century. Now, he has chosen to release his new views of these contrasting yet complementary works as part of his Grand Tour on Glossa. The Dutch maestro and his band have regularly engaged with the music of the Salzburg genius and the symphonies have frequently appeared in their concert schedules. If the precise, original performing locations for these symphonies remain elusive, the three works: 'Jupiter', K551, the E flat major, K543, and that “evergreen study in the key of G minor”, K550, known by people all around the world as 'Mozart 40', all clamour for constant and fresh interpretations and these are precisely what Frans Brüggen delivers. Recordings on Glossa from Brüggen in recent times – always whilst on tour – have included Mozart’s concertos for horn, clarinet and violin, as well as the Requiem.
With Stefano Russomanno providing a well considered booklet essay, this new release of the three final Mozart symphonies, available on two CDs, recorded live in Rotterdam, provides eloquent testimony to Frans Brüggen’s ability to summon up the expressiveness and spontaneity demanded by Mozart’s masterpieces from 1788.
Contents and tracklist
- Orchestra of the 18th Century
- Frans Brüggen
- Recorded: 4 March 2010
- Recording Venue: Rotterdam (de Doelen), Netherlands
- Orchestra of the 18th Century
- Frans Brüggen
- Recorded: 4 March 2010
- Recording Venue: Rotterdam (de Doelen), Netherlands
- Orchestra of the 18th Century
- Frans Brüggen
- Recorded: 4 March 2010
- Recording Venue: Rotterdam (de Doelen), Netherlands
Awards and reviews
-
Diapason d’Or de l’Année2014Winner - Musique symphonique
August 2014
Brüggen, once in the forefront of historically informed practices, has gradually been ploughing his own furrow; and these discs offer examples of his current thoughts that nonetheless still incorporate swift minuets and the use of period instruments. Not heard anywhere is a literal sound-facsimile of notes. Brüggen interprets them as he feels fit.
September 2014
Anyone who admires Bruggen’s approach […] is going to be delighted with these performances. Very impressive achievement. Wonderful sound … these performances have such imagination and stature. The live recorded sound is excellent.
30th June 2014
Brüggen gets a bright, majestic sound from the woodwind and brass...This is very much a classical account with clean, clear, expressive contrasts in an acoustic which somewhat favours the wind, but not generally overmuch. To sum up, Brüggen brings deeply thought through and satisfying readings with a wealth of contrast, spontaneity and capacity to surprise.
29th June 2014
These live recordings, from Rotterdam in 2010, are tinglingly alive and directed with superb conviction. Brüggen sets tempos that aren’t trying to prove a theory, but are simply natural...the orchestra as a whole plays magnificently. A feast.
22nd May 2014
they are generous, big-boned accounts, dramatically charged and embroidered with telling, sometimes delightfully surprising detail
6th June 2014
For an orchestra of only 55 players, there is ample sonority in these performances. In the “Jupiter” Symphony No 41, Brüggen adopts an aptly heroic, optimistic stance, with plenty of quasi-operatic dialogue in the first movement and, in general, a combination of vigour, deft phrasing and shrewd judgment that marks the whole set.
