Mozart: Concerto for Flute, Harp and Orchestra (SACD review)

Also, Sinfonia Concertante for Four Winds. Per Flemstrom, flute; Birgitte Volan Havik, harp; Pavel Sokolov, oboe; Leif Arne Pedersen, clarinet; Per Hannisdal, bassoon; Inger Besserrudhagen, horn. Alan Buribayev and Arvid Engegard, conductors; Oslo Philharmonic Orchestra. LAWO Classics LWC1071.

The Flute and Harp Concerto is one of the most charming things Mozart ever wrote. It always surprises me that more artists don't record it. Still, there are plenty of good recordings of it to choose among, and this one from flutist Per Flemstrom and harpist Birgitte Volan Havik with Alan Buribayev conducting the Oslo Philharmonic takes its place among the best. It's a lovely work, given a lovely performance. The Sinfonia Concertante for Four Winds as a coupling is like icing on the cake.

Mozart wrote his Concerto for Flute, Harp and Orchestra in C Major, K. 299, in 1778, and, interestingly, it's the only concerto he wrote that includes a harp. Given that people back then still considered the harp an unusual instrument, there wasn't much of a repertoire for it as yet, and listeners found Mozart's combination of flute and harp rather unique. Anyway, my own favorite recording of the concerto is the one featuring Jean-Pierre Rampal and Lilly Laskine on the Erato label, which is neither here nor there except to say that the pairing of Flemstrom and Havik does not suffer by comparison.

Maestro Buribayev and his Oslo players maintain an expressive musical demeanor throughout the concerto, and the soloists play with grace and finesse. Above all, this concerto needs a relaxed, flowing gait, and that's exactly the way Buribayev leads it, taking a cultured, refined approach yet one with a positive, pleasing countenance, too. As I say, it's a lovely performance, with an especially beautiful slow movement in which the performers bring out all of the music's most-shimmering, radiant qualities.

Alan Buribayev
In addition, we get Mozart's Sinfonia Concertante for Four Winds in E-flat Major, K. 297B, (for oboe, clarinet, horn, bassoon, and orchestra, originally written in 1778 for flute, oboe, horn, bassoon, and orchestra). Somehow, the version we usually hear today (and the one this disc) substitutes a clarinet for the flute, as well as including other changes, leading some scholars to doubt K. 297B's authenticity. Whatever, we have what we have, and the soloists and orchestra on the present recording do a fine job with it.

For the Sinfonia we get an entirely different set of soloists, of course, but also a different conductor, Arvid Engegard. Whatever, the work sounds happy enough, and the soloists are all quite good at their jobs. OK, I thought Buribayev might have brought a slightly greater sense of exuberance to his part of the show than Engegard does, while Engegard follows a bit more-exacting course. Still, the final Andante con variazoni comes off with more than a little pizzazz and makes a fitting ending for the program.

Producer Vegard Landaas and engineers Arne Akselberg and Thomas Wolden recorded the music at the Oslo Concert Hall, Oslo, Norway in November 2012 and January 2013. They made the album for hybrid SACD playback, so you have the choice of two-channel stereo or multichannel playback using an SACD player or two-channel stereo from a standard CD player. I listened to the disc's SACD layer in two-channel stereo.

The sound appears extremely well balanced in terms of left-to-right stereo spread and overall frequency response. No part of the range stands out as too bright or too dull, and the solo instruments appear well integrated into the rest of the ensemble, not too far forward from the rest of the orchestra. The dynamic range seems a little restricted, and there isn't a lot of impact involved, but that's perhaps as it should be with this kind of music. Bass and treble extensions are also a bit limited, and midrange transparency is only moderate. Nevertheless, it's a fairly natural sound, coming through pretty much as one would hear this music in a concert hall from a modest distance.


To listen to a brief excerpt from this album, click here:

Handel: Water Music (CD review)

Also, trumpet concertos of Handel, Torelli, and Vivaldi. Roger Delmotte and Arthur Haneuse, trumpets; Hermann Scherchen, Vienna State Opera Orchestra. Westminster 471 276-2.

This was another of Universal's reissues of a decade or so ago, taken from the old Westminster label. It features Handel's Water Music recorded by Hermann Scherchen and the Vienna State Opera Orchestra in 1961. It is a decidedly and wonderfully old-fashioned interpretation by today's standards, yet it's one a person might not want to miss.

In the booklet notes we find a quote from the conductor regarding the then-emerging move toward "authentic" performing practice: "All that can be said here is that historical fidelity for fidelity's sake would be absurd, given our large concert halls and the vast audiences that fill them; the modern concert hall demands the piano, just as it demands today's more powerful strings." Apparently, Maestro Scherchen had little regard for small ensembles playing Baroque music on period instruments. Instead, he offers a large-scale performance playing in a most Romantic tradition, some of which can be downright disconcerting to folks who have grown up with period-performance practices.

Hermann Scherchen
Scherchen takes the "Overture" and "Alla Hornpipe," for instance, at ooooh soooooo sloooow a pace, and with such a mass of strings you may hardly recognize things. Still, taken purely as music, without counting prejudices one way or the other about what music it is and how one should play it, this set of Water Music holds its own. Scherchen presents it beautifully, the orchestra performs it eloquently, and the whole set of movements appears uniformly well integrated. Once you listen to it all the way through, today's newer, leaner, quicker-paced readings may seem less musical to you.

Performers today most commonly divide the Water Music into suites according to key signatures, but as there is no documented proof as to how folks originally played the various movements, Scherchen has chosen to offer them in a single, extended suite. It works just fine, as does the early stereo sound. Unlike a previous release I reviewed from this source (of Liszt), which Westminster recorded several years earlier than the Water Music and sounded noisy, this issue is dead quiet. Fortunately, too, like the Liszt, the orchestral spread is wide and deep, the sonics rich, full, and smooth, and the natural balance remarkable.

Indeed, the audiophile listener may find interest in this disc for its audio reproduction alone, with the older performance style coming as an added attraction. As the Water Music also comes coupled with several very brief trumpet concertos by Handel (Concerto in D major), Torelli (Sinfonia for trumpet, strings & continuo in D major), and Vivaldi (Trumpet Concerto for 2 trumpets, strings & continuo in C major), I can only recommend the package; certainly not as a first choice in this repertoire, but as an alternative view at least.


To listen to a brief excerpt from this album, click here:

Waller: The South Shore (CD review)

Music of Michael Vincent Waller. Various artists. XI Records XI 136 (2-disc set).

Not a lot of recent modern music--that is, music of the past thirty or forty years--appeals to me. Too often it sounds like mere academic exercises in noise shaping rather than anything that might entertain people. Indeed, the very thought of "entertaining" an audience would seem anathema to many modern composers; after all, that would smack of pandering to popular taste, something no respectable modernist would want critics to accuse them of. Then, just when I think that future generations will remember little from our current classical era, along comes a young composer like Michael Vincent Waller who breaks with the prevailing tide and produces serious music with a genuinely wide appeal. It's kind of refreshing.

According to his Wikipedia article, "Michael Vincent Waller (b. 1985, Staten Island, New York) is an American composer of contemporary classical music. He has studied with La Monte Young, Marian Zazeela, and Bunita Marcus. His recent compositions have been compared to Erik Satie, Claude Debussy, Maurice Ravel, Keith Jarrett, and Morton Feldman blending elements of minimalism, impressionism, gamelan, world music, and melodic classicism. His piano works have been described as 'evoking Debussy but refracted through a 21st century prism.'" Certainly, the music on his two-disc set The South Shore--solo and chamber works--fully illustrates these characteristics. More important, the compositions entertain both the mind and the heart.

Waller's music, at least as represented on this two-disc set, sounds melodic and a touch melancholy yet never sentimental. The program derives from compositions he wrote in the past four years, music that evokes memories, emotions, vaguely nostalgic and yearning, always sweet and flowing.

The musicians and ensembles who perform on the disc include Christine Kim, cello, and Pauline Kim-Harris, violin (Project SiS) with Conrad Harris, violin, Daniel Panner, viola, Charity Wicks, piano; Dedalus Ensemble with Didier Aschour, electric guitar, Amélie Berson, flute, Cyprien Busolini, viola, Thierry Madiot, trombone, Pierre Stéphane Meugé, alto sax, Deborah Walker, cello; 20>>21 Ensemble with Yael Manor, piano; Itay Lantner, flute, Erin Wight, viola, Clara Kennedy, cello, and Jessica Park, violin; Nicolas Horvath, piano; Esther Noh, violin; Carson Cooman, organ; Katie Porter, clarinet, and Devin Maxwell, gong percussion (Red Desert); Luna Cholong Kang, flute; and Marija Ilic, piano.

Being the old Romantic that I am, I tended to favor the more lyrical numbers in the set, starting at the beginning with Anthems for cello and piano. Like most of the pieces, it's brief and to the point, about two-and-a-half minutes, with a graceful beauty that envelops one in its welcoming tone. Likewise, Atmosfera di Tempo for string quartet is a gentle set of variations, quite beautiful in its wistful longing.

Waller describes Profondo Rosso for piano trio as a Valentine for his muse, Mia. As with any Valentine, it is pure, loving, and ultimately comforting.

And so it goes. Each piece has a haunting quality, moody and atmospheric, delightful in the moment, quickly forgotten. The pieces invite repetition of those moments, however. Tre Pezzi per Trio di Pianoforte for piano trio is probably the most impressionistic music in the set, with shadings of light and dark colors interweaving to create visions of nature, the seasons, and memories sad and anxious.

After that, there's a wonderfully evocative piece for organ called Organum that recalls music of the late Medieval-early Renaissance period in a large, airy, but very quiet cathedral. It's quiet organ music, if such a thing is to your liking; it is mine.

Michael Vincent Waller
Ritratto is the largest-scale work on the program, written for a sextet of flute, alto sax, electric guitar, viola, cello, and trombone. Again we hear a kind of Renaissance quality in the music, especially with the entrance of the guitar. It's quite charming, with each instrument highlighted for its own individual contribution to the whole.

The title piece, La Riva Sud ("The South Shore," of Staten Island, close to the composer's birthplace) for piano and viola involves memories of Waller's childhood. As such, it is among the most reflective and nostalgic of the works in the set.

Some of the pieces may remind you of the flute playing of Paul Horn, others of the piano of George Winston, two musicians who influenced a generation of popular artists. Yet Michael Vincent Waller's music is more complex than that, richer, subtler, and more varied.

If there is any drawback to the set, though, it is that there may be an overabundance of good things. That is, a little goes a long way and a single disc of this material might have sufficed for most of us. As it is, Waller and his team offer the two-disc set for the price of one disc, and if over two hours of his gentle compositions seem a bit much, the listener always has the choice to play only one disc at a sitting. (I had a slight preference for disc one and may be playing it often.)

I could go on, but you're getting the idea. Of course, none of the music would be of value if the musicians didn't play it well, and each of the artists involved plays with feeling and conviction. It's a lovely album all the way around.

Is Waller's music of such a quality as may become truly classic, music that people might play a hundred and more years from now? Who knows? Personally, I doubt it. Yet it is positively enjoyable in the moment, which is all that counts for us today. Equally significant, it is music that one hopes presages more good things from the composer, who is young enough to be a serious force in the world of original, avant-garde classical works.

Producers Michael Vincent Waller, Ryan Streber (who also did the mixing and mastering), and Christine Kim plus a variety of audio engineers made the recordings at several studios and a couple of live venues, XI Records releasing the album in March 2015. Although the sound derives from a number of different sources, it's all basically of a kind: warm, mildly resonant, moderately close up, and slightly soft in keeping with the nature of the tunes.


To listen to a brief excerpt from this album, click here:

John J. Puccio

John J. Puccio

About the Author

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (, formerly DVDTOWN) from 1997-2013. Music and movies. Life couldn't be better.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job.

Contact Information

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