Mozart: The Last Five Symphonies

Editorial Reviews
Amazon.com
These were always fine performances of Mozart's last five symphonies (Nos. 36 and 38-41; Michael Haydn wrote his 37th) and they stand up wonderfully. Marriner was never an over-Romanticizer, and even here, with a pretty-good-sized band of modern instruments, the touch is thoroughly "Mozartean," without being at all fussy. In other words, this is a very classy set--tempi and emphasis are never less than ideally judged, and there's energy to spare. What a buy! --Robert Levine

Mozart: The Last Five Symphonies, Music, Wolfgang Amadeus Mozart, Neville Marriner, Academy of St. Martin-in-the-Fields, Classical, Classical Composers, Classical Music, Classical Period Symphony, Symphonic
Mozart: The Last Five Symphonies
Average customer rating: 4 out of 5 stars
  • Two-and-a-half stars...Bland and anonymous
  • Ditto Robert Levine
  • Excellent!
  • MOZART COMES THROUGH
 Mozart: The Last Five Symphonies

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
ClassicalClassical | Symphonies | Forms & Genres | Classical | Styles | Music
GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Symphonies | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
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ASIN: B000004169
Release Date: 1993-10-12

Tracks:

  1. Symphony No. 36 In C, K. 425 'Linz': 1. Adagio - Allegro spiritoso
  2. Symphony No. 36 In C, K. 425 'Linz': 2. Poco adagio
  3. Symphony No. 36 In C, K. 425 'Linz': Menuetto
  4. Symphony No. 36 In C, K. 425 'Linz': Finale (Presto)
  5. Symphony No. 38 In D, K. 504 'Prague': Adagio - Allegro
  6. Symphony No. 38 In D, K. 504 'Prague': Andante
  7. Symphony No. 38 In D, K. 504 'Prague': Finale (Presto)
  8. Symphony No. 39 In E Flat, K.543: Adagio - Allegro
  9. Symphony No. 39 In E Flat, K.543: Andante con moto

Tracks:

  1. Sympnony No. 39 In E Flat, K. 543: 3. Menuetto (Allegretto)
  2. Sympnony No. 39 In E Flat, K. 543: 4. Finale (Allegro)
  3. Symphony No. 40 In G Minor, K. 550: 1. Molto allegro
  4. Symphony No. 40 In G Minor, K. 550: 2. Andante
  5. Symphony No. 40 In G Minor, K. 550: 3. Menuetto (Allegretto)
  6. Symphony No. 40 In G Minor, K. 550: 4. Finale (Allegro assai)
  7. Symphony No. 41 In C, K. 551 'Jupiter': 1. Allegro vivace
  8. Symphony No. 41 In C, K. 551 'Jupiter': 2. Andante cantabile
  9. Symphony No. 41 In C, K. 551 'Jupiter': 3. Menuetto (Allegretto)
  10. Symphony No. 41 In C, K. 551 'Jupiter': 4. Molto allegro

Amazon.com

These were always fine performances of Mozart's last five symphonies (Nos. 36 and 38-41; Michael Haydn wrote his 37th) and they stand up wonderfully. Marriner was never an over-Romanticizer, and even here, with a pretty-good-sized band of modern instruments, the touch is thoroughly "Mozartean," without being at all fussy. In other words, this is a very classy set--tempi and emphasis are never less than ideally judged, and there's energy to spare. What a buy! --Robert Levine

Customer Reviews:

2 out of 5 stars Two-and-a-half stars...Bland and anonymous.......2002-07-10

I was truly surprised how bland I found these performances. They're not really "bad," and there's nothing to object, to, but I almost wish they were so I could have a reaction, any reaction. Despite his reputation for being a "Mozart Specialist," I don't feel Neville Marriner gets to the bottom of these works. Tempi are average-to-slow (the intro to the Prague is particularly cumbersome, but oddly the rest of that movement is among the disc's highlights, with strong, solid, dramatic build) and phrasing is, well, almost nonexistent. None of the players has a distinct sound, balances are string-forward and woodwind-weak. Sound is excellent, though, in the best Philips tradition; performances mostly span the 70s decade. But the biggest problem is Marriner here: I feel he is so intent on having every hair in place that he doesn't say anything. There's no pathos in the G minor, nor zeal in the Linz, nor majesty in the Jupiter. This is Mozart-by-the-numbers, without tension, that feeling of discovery, that the musicians are experiencing the music as they play it. Except for the Prague, not worth keeping, and maybe not even then. To hear these symphonies in their glory, hear Furtwangler, Bernstein, Erich Kleiber, Walter, Kubelik, Blomstedt, heck, even Mackerras ain't bad compared to this, and I used to think he was somewhat bland.

5 out of 5 stars Ditto Robert Levine.......2001-06-04

I am greatly enjoying this purchase. The Amazon reviewer hits the nail on the head: very classy. I appreciate the balance of the recording, with the winds right up there with the strings, and the whole effect never too dense. I haven't heard the Bohm/Berlin set that others have spoken of, but I have compared the 38 and 39 on this set to a Bohm/Vienna disk I own which is very good and the Marriner performances are overall more enjoyable.

5 out of 5 stars Excellent!.......2000-10-13

This is an excellent buy. The ASMF proves to be an outstanding Mozart-orchestra. Symphonies no. 36 and 40 are among my favorite symphonies now. The only downside is the break-up of Symphony 39, but despite that, I really recommend this one!

5 out of 5 stars MOZART COMES THROUGH.......1998-11-18

I couldn't believe it when I got this recording from Amazon. A mix of an excellent performance and first-class recording quality make this one of the best Mozart purchases I've ever made. The winds come through brilliantly, and it was as if I was hearing the Prague symphony for the first time. While the G minor is a little restrained for my taste, it is nonetheless an excellent performance, with all the balance and control necessary for Mozart. The E-flat, one of my favorites, is breathtaking. It is rare to hear a conductor respect the score as much as Marriner, and remarkable how much intensity and control the Academy has. Mozart comes through, taking precedence over the conductor and the performers. We often get wrapped up in the performance or conducting, but in these recordings we are aware of only one thing: Mozart's genius.

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