Mozart: Flute and Oboe Concertos (CD review)

Also, Symphony No. 32. Irena Grafenauer, flute; Francois Leleux, oboe; Gunter Wand; Sir Colin Davis, Bavarian Radio Symphony Orchestra. BR Klassik 900710.

The BR Klassik label continues to provide good value with its Bavarian Radio Symphony Orchestra discs, this one a 2010 release of older recorded material. We get three different Mozart pieces, all written around the same time, 1777-79; two splendid soloists; two star conductors; and one outstanding orchestra.

The program begins with Mozart's Flute Concerto No. 1 in G major, KV 313, written in 1778. The Concerto itself is the epitome of charm, grace, and delight, of course. The soloist, Irena Grafenauer, and conductor, Gunter Wand, are the epitomes of refinement and eloquence, so they work hand in hand with the music, producing a radiant performance. Over the years, a few critics have continued to believe that Mozart disliked the flute and resented having to compose music for it. If so, it certainly doesn't show in his one-and-only concerto for the instrument, especially as felicitously as Grafenauer and Wand play it, the flute lightly dancing throughout. This is old-school Mozart, to be sure, but gracious and engaging in the extreme.

Mozart wrote his Oboe Concerto in C major, KV 314, in 1777, a transcription of which he tried to pass off a year later under the guise of a new flute concerto, and you will still find it sometimes listed as such. In any case, the Oboe and Flute Concertos share much in common with one another, both light and airy, with lovely, songlike, cantabile-based mid sections and spirited conclusions. Sir Colin Davis is a bit more lively in his direction than Gunter Wand, and the listener will find considerable bounce in his tempos. Likewise, oboist Francois Leleux's playing seems more virtuosic, more gymnastic, than Ms. Grafenauer's flute playing, though not necessarily more polished or more enjoyable.

The album ends with Mozart's Symphony No. 32, a very brief and unusual single-movement work, about eight-and-a-half minutes long under Sir Colin Davis. Nevertheless, the single Allegro spiritoso contains a traditional slow segment about halfway through, so it is, in fact, like a mini symphony. Davis offers an energetic, scintillating reading that, in any case, never appears unduly rushed.

In terms of sound, we get recordings spanning a twenty-year period. The Flute Concerto derives from a 1981 recording, and it is smooth and natural, slightly close-up, with a good ambient air, if not a lot of sparkle. The Oboe Concerto is the newest of the lot, recorded live in 2001. It sounds more closely miked than the Flute Concerto, somewhat wider in stereo spread and more open.  However, it is not necessarily more realistic, and there is a little less orchestra depth and some occasional audience noise involved. The Symphony No. 32 comes from 1985, also recorded live, and sounding a bit more dynamic than the others, though with perhaps a touch more forwardness in the upper midrange. None of these recordings can lay claim to audiophile status, but they are satisfying in their own ways.


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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

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.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

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. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa