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Stanley Sadie (March 2001) Horn Concertosĭennis Brain hn Philharmonia Orchestra / Herbert von Karajanĭennis Brain was the finest Mozartian soloist of his generation. But altogether a disc with much polished and sensitive playing. Hans-Peter Westermann contributes a sweet-toned and neatly phrased account of the Oboe Concerto, yet again rather leisured in tempo, in the finale in particular, and with one or two orchestral oddities especially in matters of accentuation (characteristic of Harnoncourt’s direction). I thought the finale was a little restrained and pensive, certainly graceful but not quite as dance-like or as much fun as this gavotte-rhythm piece ought to be (and the interpretation of the appoggiatura in the main theme seems to me perverse). The Andantino, too, is taken rather slowly, and with a chamber-musical refinement, with coolly aristocratic flute playing from Robert Wolf and gently expressive shaping from Naoko Yoshino. In the Flute and Harp Concerto there is some delicate, clear playing from both soloists in what is perhaps a slightly austere reading of the first movement. Altogether, though, a very musical and appealing performance. He adds a little ornamentation here and there, where Mozart seems to invite it just once or twice I wasn’t quite comfortable with what he did. Meyer has less rounded, more reedy a tone than many players favour. There is a rapt account of the Adagio and a lively Rondo, beautifully articulated in both, the availability of the extra notes makes clear the logic of Mozart’s lines as he must have conceived them. Even the bravura music, shaded with delicacy, emerges with expressive content, and I admired especially Meyer’s light, fluid articulation of semiquaver runs. The first-movement tempo is on the leisurely side, giving him plenty of opportunity for refined and subtle moulding of the lines. The reconstruction used here, slightly different in some of its detail from others I have heard, works very well, making the familiar text’s rough places plain and logical and it serves ideally for Meyer, with his rich and oily bottom register. This is the instrument for which the work was originally composed, although only a text adapted to the normal clarinet has come down to us. There are happy and shapely performances of all three concertos here, but the particular delight is that of the latest and greatest of them, the Clarinet Concerto, which Wolfgang Meyer plays on a basset clarinet – that is, an instrument with an extension allowing it to add four semitones at the bottom of its compass. Wolfgang Meyer cl Hans-Peter Westermann ob Robert Wolf fl Naoko Yoshino hp Concentus Musicus Wien / Nikolaus Harnoncourt Listen to extracts from each of the recordings in our 'Mozart: Great Recordings' playlist on Apple Music.Ĭlarinet Concerto. The list is organised by genre, beginning with orchestral works, then moving though chamber, instrumental, vocal and opera. Following the overwhelming popularity of our lists of the 50 greatest Beethoven, Bach, Chopin and Handel recordings, we have now gathered 50 of the finest recordings of Mozart's music – Gramophone Award-winning albums, Recordings of the Month and Editor's Choice discs, from legendary performers like Elisabeth Schwarzkopf and Benjamin Britten to modern masters like John Butt and Alina Ibragimova.