Composer: Wolfgang Amadeus Mozart (1756-1791)
Works: Overture: Der Schauspieldirektor; Concerto for Two Pianos in E flat major, K365; Aria: L’amero, saro costante, K208 (Il re pastore); Concert Aria: Ma, che vi fege, o stelle, K368; Symphony in F major, K112
Performers: Clara Haskil, Géza Anda (pianos); Erika Köth (soprano); Camerata Academica Salzburg; Bernhard Paumgartner (conductor)
Recording Date: 4 August 1957
Location: Mozarteum Salzburg
Label: ORFEO C 572 011 B
Duration: 60:57
In this intriguing release from ORFEO, we are presented with a collection of Mozart’s works performed by an ensemble of notable musicians from the mid-20th century, under the baton of Bernhard Paumgartner. Recorded in the sonorous halls of the Salzburg Mozarteum, this album offers a glimpse into a historically rich performance tradition, albeit one that grapples with the limitations of its vintage sound.
The disc opens with the buoyant Overture to Der Schauspieldirektor, where the immediacy of Paumgartner’s conducting is palpable. The brisk tempos and lively articulation suggest a youthful vigor, reflective of the opera’s comedic spirit. However, the recorded sound presents a significant challenge, as the strings often come across as wiry and lacking the warmth typically associated with Mozartian orchestration. This is particularly evident in the initial orchestral statement, where one yearns for a fuller resonance that can only be achieved through modern recording techniques.
Transitioning to the Concerto for Two Pianos in E flat major, K365, the partnership of Clara Haskil and Géza Anda reveals a delightful synergy. Their interplay is marked by a nuanced understanding of the dialogue inherent in the score. The second movement, Larghetto, is executed with a tender lyricism, highlighting Haskil’s delicate touch alongside Anda’s robust yet sensitive accompaniment. While the recording improves slightly in terms of focus for this work, the persistent dimness hampers the overall impact, leaving one to ponder how the performance might resonate with greater clarity in a more contemporary setting. Similar works, such as the renowned recordings featuring the likes of Alfred Brendel and Daniel Barenboim, offer a more polished orchestral backdrop, allowing for fuller appreciation of the pianists’ artistry.
The two vocal works featuring Erika Köth showcase her remarkable vocal prowess, particularly in L’amero, saro costante. Here, Köth’s voice shines with a focused clarity that is commendable, especially as she navigates the lyrical demands of the aria with poise. Paumgartner’s attentive conducting is notable, as he shapes the phrases with an inherent understanding of the singer’s needs, ensuring that Köth’s breathing is not forced. This delicacy is crucial in conveying the emotional depth of the piece.
In contrast, the concert aria Ma, che vi fege, o stelle, K368, reveals Köth’s exceptional control and agility in coloratura passages. The expressive recitative is delivered with a sense of dramatic intensity, while the ensuing aria showcases Mozart’s penchant for vocal fireworks. The energy and precision Köth brings to this work affirm her status as a leading soprano of her time. The piece itself, composed for the talented Elisabeth Wendling, demands a formidable technique, and Köth rises to the occasion with admirable steadiness and accuracy.
The Symphony in F major, K112, composed by the young Mozart at the age of 15, reflects his burgeoning genius. The work is lively and inventive, echoing the influences of early classical symphonic form while hinting at the distinct voice that would soon emerge. Paumgartner’s performance captures the youthful exuberance of the piece, yet once again, the limitations of the recorded sound diminish its potential impact. The orchestration, while dynamic, lacks the clarity necessary to fully appreciate Mozart’s intricate counterpoint and thematic development.
In conclusion, this recording, while rich with historical significance and featuring exemplary performances, is ultimately marred by its technical deficiencies. The artistic merits of Haskil, Anda, and Köth are evident throughout, and Paumgartner’s insightful interpretations offer much to appreciate. However, the sonic limitations serve as a reminder of the challenges faced by historical recordings, often overshadowing the brilliance of the performances themselves. For those with an interest in Mozart’s oeuvre and a penchant for historical performance practices, this release certainly merits exploration, albeit with the understanding that the aural experience is not without its compromises.
