Composer: Wolfgang Amadeus Mozart
Works: Adagio in B flat, K484a; Serenade in B flat, K371a (‘Gran Partita’ arr. Gleissner)
Performers: Collegium Classicum
Recording: Live in the Stadthalle, Wuppertal on June 1st (Adagio), March 26th-30th, 2001 (Serenade) [DDD]
Label: Dabringhaus und Grimm Gold MDG301 1077-2 [60.01]
Wolfgang Amadeus Mozart’s oeuvre continues to be a cornerstone of the classical canon, melding intricate structural mastery with profound emotional depth. The Adagio in B flat, K484a, highlights Mozart’s unique ability to evoke sentiment through simplicity and transparency, while the Serenade in B flat, K371a, or ‘Gran Partita,’ represents a monumental achievement in wind ensemble writing, often regarded as an outdoor masterpiece. The Collegium Classicum, with its reputation for stylistic clarity and chamber music sensibility, takes on these works with a blend of intelligence and finesse, yet the results yield mixed outcomes, especially in the case of the reimagined ‘Gran Partita.’
The performance of the Adagio in B flat is a standout moment on this recording. The ensemble’s treatment of the piece is marked by an exquisite sensitivity, with the clarinets and basset horns weaving a tapestry of sound that is both reflective and haunting. The articulation of the melodic line is handled with care, allowing the individual voices to shine without overshadowing one another. The resulting blend is rich and luminous, capturing the essence of what makes this work a jewel in Mozart’s late repertoire. The recording quality is commendable, presenting a warm acoustic that enhances the delicate interplay of the instruments.
In contrast, the arrangement of the ‘Gran Partita’ by Franz Gleissner introduces a significant alteration to the original work, which presents challenges to the listener’s expectations. While Gleissner’s adaptation for a smaller ensemble—including two violins, viola, and cello—aims to attain a more intimate sound, it ultimately softens the compelling edges of Mozart’s original. The vitality of the woodwinds in the outdoor setting, which contributes to the piece’s character, is considerably muted. This reinterpretation, while technically adept and filled with inventive touches, tends to undermine the robust, bold ethos of the original work.
The third movement Adagio, typically characterized by its poignant, soaring lines, feels overly cushioned in this arrangement. The strings’ lush support overshadows the woodwind solos, diminishing the emotional impact that is so crucial in Mozart’s conception. The ensuing Menuetto, though spirited in its execution, suffers from the replacement of horns with strings—an alteration that strips away the distinctive ‘horn-call’ intervals, leaving a somewhat sanitized version that lacks the original’s rugged charm. The opening of the Finale, now a string quartet, transforms the energetic gallop of the original into a more subdued affair, reminiscent of a string quartet finale rather than the grand, celebratory conclusion that Mozart intended.
The Collegium Classicum’s artistry is evident in their careful attention to detail and stylistic nuances. However, even their skills cannot fully compensate for the shortcomings of the arrangement. The recording itself, produced under Dabringhaus und Grimm, is of high fidelity, allowing the listener to appreciate the nuances of the ensemble’s performance. Yet, one cannot help but wish for the raw energy and exuberant spontaneity of the original ‘Gran Partita,’ which has been so distinctly altered.
This recording presents a fascinating exploration of Mozart’s music, juxtaposing the ethereal beauty of the Adagio with a reinterpretation of one of his most celebrated works that challenges the listener’s engagement. While the Adagio stands as a compelling reason to acquire this disc, the reimagined ‘Gran Partita’ ultimately feels more like an exercise in civility than a celebration of Mozart’s genius, leaving one to ponder the necessity of such arrangements in the broader context of his remarkable body of work.
