Manchester Camerata

Described by BBC Music Magazine as ‘Mozart music-making of altogether superior quality’, Jean-Efflam Bavouzet’s acclaimed Mozart Concertos series reaches Vol. 6. Along with Concerto No. 24, K. 491, the two concertos presented here were composed in Vienna in the winter of 1785 – 86, at a time when Mozart was working on Le nozze di Figaro. He was at the height of his fame as composer, virtuoso pianist, and teacher. These three concertos were all written for his own use in the concerts of that winter, and remained unpublished during his lifetime. Der Schauspieldirektor (The Impresario) was commissioned by Emperor Joseph II for an important state visit and performed at Schönbrunn palace on 7 February 1786. The Overture highlights Mozart’s innate ability as an orchestrator, and serves as a demonstration piece for Gábor Takács-Nagy and the wonderful musicians of Manchester Camerata.

Volume 7 of Jean-Efflam Bavouzet’s Mozart piano concertos survey with Gábor Takács-Nagy and the Manchester Camerata features two of the late concertos – Nos 24 and 25 – along with a spirited reading of the Overture to Le nozze di Figaro (The Marriage of Figaro). Concerto No. 24 was written whilst Mozart was busily composing Le nozze di Figaro, between October 1785 and the première, in Vienna, in May 1786. One of only two piano concertos in a minor key, this extraordinary work possesses many unusual features, including the deliberately ambivalent tonality of the opening melody, which uses all twelve tones of the scale (a pre-echo of serialism??!).

Volume 8 of Jean-Efflam Bavouzet’s survey of Mozart’s piano concertos with Gábor Takács-Nagy and Manchester Camerata features two late concertos – Nos 26 and 27 – along with the overtures to Così fan tutte, Die Zauberflöte (The Magic Flute), and La clemenza di Tito. Concerto No. 26, the ‘Coronation’, was completed in 1788, premièred in Dresden, and then played at the coronation of Leopold II as Holy Roman Emperor, in Frankfurt, on 15 October 1790.

Mozart's fabled Concerto (also better known for its oboe alternative), is perhaps the most famous work and it is played here with extra geniality and authority by Laurence Perkins and the admirable Manchester Camerata. The combination also brings an earthiness and effusive beauty to the charming Michael Haydn Concertino whilst Stamitz's Concerto is also imparted with an irresistible drive and character. Weber's two works, the 'Andante e Rondo Ungarese' and the Concerto in F Major are both representative of the bassoon's tonal capabilities and they receive top-notch performances here.

The three concertos featured on this album were composed together in 1782 / 83 – shortly after Mozart had left his patron and position in Salzburg to establish himself as a freelance composer and performer in Vienna. The concertos were all performed by the composer in a series of subscription concerts that he gave in the city. All share the same form – opening movement in sonata form, slow movement in ternary form, and a bright rondo finale.