Complete Mozart Symphonies

Complete Mozart Symphonies

Complete Mozart Symphonies
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CD Details

Composer: Mozart
Conductor: Trevor Pinnock
Performer: Peter Hanson
Edition: Music CD
Format: Box set
CD Release Date: 2002-10-08
Music Label: Archiv Produktion
Soundtracks:
Music CD 1
  1. Molto Allegro
  2. Andante
  3. Presto
  4. Allegro Assai
  5. Andante
  6. Presto
  7. Allegro
  8. Andante
  9. Presto
  10. Allegro
  11. Andante
  12. Molto Allegro
  13. Allegro Maestoso
  14. Andante
  15. Presto
  16. Allegro
  17. Andante
  18. Menuetto - Trio
  19. Allegro
Music CD 2
  1. Molto Allegro
  2. Andante
  3. Menuetto - Trio
  4. Molto Allegro
  5. Allegro
  6. Andante
  7. Menuetto - Trio
  8. Molto Allegro
  9. Allegro
  10. Andante
  11. Menuetto - Trio
  12. Molto Allegro
  13. Allegro Maestoso
  14. Andante
  15. Menuetto - Trio
  16. Allegro
  17. Allegro
  18. Andante
  19. Menuetto - Trio
  20. Allegro
  21. Allegro
  22. Andante
  23. Allegro Molto
Music CD 3
  1. Allegro
  2. Andante
  3. Menuetto - Trio
  4. Presto
  5. Allegro
  6. Andante
  7. Menuetto - Trio
  8. Allegro
  9. Allegro
  10. Andante
  11. Allegro
  12. Allegro
  13. Andante
  14. Menuetto - Trio
  15. Allegro Molto
  16. Allegro
  17. Andantino
  18. Menuetto - Trio
  19. Allegro
  20. Allegro
  21. Andante
  22. Menuetto - Trio
  23. Molto Allegro
Music CD 4
  1. Allegro
  2. Andante
  3. Allegro
  4. Allegro
  5. Andante
  6. Menuetto - Trio
  7. Allegro
  8. Allegro
  9. Andante
  10. Menuetto - Trio
  11. Molto Allegro
  12. Allegro Moderato
  13. Andante
  14. Menuetto - Trio
  15. Molto Allegro
  16. Allegro
  17. Andante
  18. Menuetto - Trio
  19. Presto
Music CD 5
  1. Allegro Maestoso
  2. Andante Grazioso
  3. Allegro
  4. Allegro
  5. Andante
  6. Allegro
  7. Allegro
  8. Andantino Grazioso
  9. Menuetto - Trio
  10. Molto Allegro
  11. Allegro
  12. Andante
  13. Menuetto - Trio
  14. Allegro
  15. Molto Presto
  16. Andante
  17. Allegro
Music CD 6
  1. Allegro
  2. Andante
  3. Menuetto - Trio
  4. (Allegro)
  5. Allegro
  6. Andante
  7. Menuetto - Trio
  8. Allegro
  9. Allegro Assai
  10. Andantino Grazioso
  11. Presto Assai
  12. Allegro Spiritoso
  13. Andantino Grazioso
  14. Presto Assai
  15. Allegro
  16. Andantino Grazioso
  17. Presto
Music CD 7
  1. Allegro Spiritoso
  2. Andantino Grazioso
  3. Allegro
  4. Allegro Con Brio
  5. Andante
  6. Menuetto - Trio
  7. Allegro
  8. Molto Allegro
  9. Andantino Con Moto
  10. Menuetto - Trio
  11. Presto
  12. Allegro Assai
  13. Andante
  14. Allegro
Music CD 8
  1. Allegro Moderato
  2. Andante
  3. Menuetto - Trio
  4. Allegro Con Spirito
  5. Allegro Spiritoso
  6. Andante
  7. Menuetto: Allegretto - Trio
  8. Presto
  9. Allegro Assai
  10. Andante Moderato
  11. Menuetto - Trio
  12. Allegro Assai
Music CD 9
  1. Allegro Spiritoso
  2. Andante
  3. Tempo Primo
  4. Allegro Vivace
  5. Andante Di Molto Piu Tosto Allegretto
  6. Finale: Allegro Vivace
  7. Allegro Con Spirito
  8. Andante
  9. Menuetto - Trio
  10. Presto
  11. Adagio - Allegro Spiritoso
  12. Andante
  13. Menuetto - Trio
  14. Presto
Music CD 10
  1. Adagio - Allegro
  2. Andante
  3. Presto
  4. Adagio - Allegro
  5. Andante Con Moto
  6. Menuetto: Allegretto - Trio
  7. Finale: Allegro
Music CD 11
  1. Molto Allegro
  2. Andante
  3. Menuetto: Allegretto - Trio
  4. Allegro Assai
  5. Allegro Vivace
  6. Andante Cantabile
  7. Menuetto: Allegretto - Trio
  8. Molto Allegro

Music reviews of Complete Mozart Symphonies

Music Review: mozart as the father to beethoven
Rating: 5 Stars

i've had the recent opportunity to listen to both the pinnock and hogwood mozart recordings (alongside the tate, mackerras and bohm) during work on a very large painting project, and want to context the comments made by other reviewers.

chronologically, hogwood (with the academy of ancient music, recording around 1980-85) precedes pinnock (with the english concert, recording around 1993-95) by a decade or so, and the two sets are contrasted for that reason in technique and approach to classical music performance.

i frown skeptically at the comments of sonic superiority of one set over the other; certainly you can recognize a different audio engineering esthetic between the two, and the acoustics and sound stage are different, but my main impression was that i had to turn down the volume to optimally hear the pinnock performances, not that either set was lacking. in fact, the remastered (ADD) hogwood set sounds fuller and mellower to my ear; many of pinnock's early recordings (e.g., his brandenberg concertos) are so brightly mastered that the strings and recorders become strident.

there is also the difference that the pinnock set was selective, while the hogwood traversal included every known (at the time) mozart symphony, a serenade using the themes of a symphony (the haffner), a few suspected spurious symphonies, and alternative versions of a few late symphonies. hogwood and the AAC record every single one with consistently high musicianship and alertness, and i found absolutely nothing to fault in the performances, admired the players' ensemble and instrumental tone, and found the interpretations beautifully shaped and paced. (i listened to every disc of both pinnock and hogwood at least twice.)

the pinnock performances, to my mind, have the specific virtue of presenting mozart as an evolving musical mind, and in particular illuminating how he bridges the eclectic and experimental mid 18th century musical culture of c.p.e. bach and (especially) j.c. bach, the sturm und drang period of the late 18th century, and the preromantic period at the turn of the 19th century. the youthful symphonies are brightly articulated, dramatically contrasted but too nimble to be weighty; the later symphonies are played in the same passionate style that one might find in a robust performance of beethoven's first or second.

indeed, there are several points in pinnock's version of the late symphonies where i raised my head from work and thought "ah, so that's where beethoven found it" -- both compositionally, in the sense of a specific musical idea, instrumental texture or orchestration, but also instrumentally, in the performance requirements mozart's compositions imposed on ensemble players. (to caricature, mozart made the musicians, and haydn the compositional practices, that beethoven took to a new style.) to this end pinnock has added percussion parts to a few of the symphonies (contributed by h.c. robbins landon and other musicologists), and there is across many of the symphonies a clear difference from hogwood in the instrumental balance between violins and bass, and the sheer presence of the wind instruments. there is also nothing to regret in pinnock's smaller selection of symphonies: nothing is missing that you'll ever recognize as mozart worth hearing.

my main quibble with the pinnock set is that pinnock leans toward virtuosity for its own sake -- tempos are brisker, sound is brighter, accents are sharper, contrasts are more colorful and emphatic. (this is, i suspect, what some listeners may attribute to "better recording".) this is because pinnock made his recordings over a decade after early music advocates had finally established the early music performance esthetic: from that point, the early music tradition has evolved toward a more virtuosic, gobsmacking audience experience -- "kick out the jams!" -- a tendency that persists to this day. this is something absent from the earlier generations (compare, for example, bach's brandenbergs recorded by leonhardt, hogwood and pinnock) and, in my view, is not necessarily something to be preferred.

aside from the fact that it may be too much of a good thing, i don't think it is "authentic" early music. i don't believe that 18th century musicians, living basically the life of servants and often trained father to son on second best instruments, had the sheer chops and deep musical culture to pull it the performances offered by modern and musically competitive ensembles of juilliard and royal academy postgrads. i also suspect that performances which sound brisk and bright to our ears, already accustomed to rock howl and jazz squeal, would have sounded unbearably frantic to ears used to market square country dances and amateur chamber salons.

personally, i would not do without either set (or the others named parenthetically above): note my five star rating. but hogwood and pinnock are different, and reflect different musical temperaments and objectives. one is certainly not superior to the other.
More Complete Mozart Symphonies free music reviews:
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