Mozart: Early Symphonies

Because Mozart's earliest symphonies are performed less often than the later masterpieces and are consequently underrepresented on disc, Nikolaus Harnoncourt's period performances with Concentus Musicus Wien may have an added value beyond sheer musical excellence. Much has been written about how these works are miraculous manifestations of the young Mozart's genius, and their consistently high quality obviates criticism for their few shortcomings. But these symphonies really do sound magical and even startling in Harnoncourt's vital renditions, and Concentus Musicus delivers them with boisterous enthusiasm and full bow, with absolutely no precious Rococo affectations.

The first 14 of the 16 symphonies chosen span the years 1771, when Mozart was 15, through to 1773, when he produced in the G minor No. 26, his first out-and-out masterpiece among the symphonies. In addition to the regularly numbered works Tate includes the so-called Symphonies Nos. 48 (adapted from the overture to Ascanio in Alba) and 50 (adapted from the overture to Il sogno di Scipione). Then, almost as an appendix to the rest, come two more adaptations from opera overtures, dating from 1775-6, No. 51 (from La finta giardiniera) and No. 52 (from Il re pastore, with an adaptation of an aria inserted).

This was the set that really got the "authentic instrument" craze going. It was a big, ambitious project that promised a fresh look at familiar music, as well as lots of exciting new discoveries. Christopher Hogwood tailored his forces to match what we know of the actual size and constitution of the orchestras of the period, and since Mozart wrote symphonies in every country in Europe, including England, France, Italy, Germany, Austria and Czechoslovakia, the result is practically a blueprint of 18th-century orchestral practice. Then everyone else got into the act, and these performances sort of fell off the musical map. Listening to them again, one finds they hold up rather well. There's still the sense of discovery, and of course the music itself is glorious.

Nikolaus Harnoncourt The Complete Sony Recordings brings together for the first time Harnoncourt s complete recordings from 2002-2015 with his Concentus Musicus Wien, the Wiener Philharmonike, the Chamber Orchestra of Europe and the Symphonieorchester des Bayrischen Rundfunks. The Sony Classical edition features his famous symphony recordings of Mozart, Haydn, Beethoven and Bruckner, alongside his celebrated performances of great choral works such as the Verdi, Brahms and Mozart Requiems and Haydn's Die Schöpfung, as well as Mozart's opera Zaide, Haydn's Orlando paladino and Gershwin's Porgy and Bess. Also included are previously authorized but unreleased recordings of J. S. Bach s Cantatas Nos. 26 & 36, Beethoven's Christus am Ölberge and Dvorák's Stabat Mater.

Nikolaus Harnoncourt The Complete Sony Recordings brings together for the first time Harnoncourt s complete recordings from 2002-2015 with his Concentus Musicus Wien, the Wiener Philharmonike, the Chamber Orchestra of Europe and the Symphonieorchester des Bayrischen Rundfunks. The Sony Classical edition features his famous symphony recordings of Mozart, Haydn, Beethoven and Bruckner, alongside his celebrated performances of great choral works such as the Verdi, Brahms and Mozart Requiems and Haydn's Die Schöpfung, as well as Mozart's opera Zaide, Haydn's Orlando paladino and Gershwin's Porgy and Bess. Also included are previously authorized but unreleased recordings of J. S. Bach s Cantatas Nos. 26 & 36, Beethoven's Christus am Ölberge and Dvorák's Stabat Mater.

He was closely associated with EMI for the majority of his recording career (specifically from 1946 to 1960 and then again from 1969 to 1984). While Beethoven’s symphonies, so central to Karajan’s recorded legacy, embody music’s transition from Classicism to Romanticism, this set presents symphonies by Beethoven’s great Classical predecessors – Mozart and Haydn – and his admiring Romantic contemporary, Schubert. It also offers a rarity: the overture to Cherubini’s opera Anacréon.

This boxed set, according to the jacket were recorded between 1964 and 1978 by the SWF Sinfonierorchester Baden-Baden [ & Freiburg] under the baton of Ernest Bour, its Music Director (1964-78). No specific dates are given for any of these individual recordings. Many of the current generation may not be familiar with Mr. Bour, or his orchestra, which is unfortunate.