Mozert: Concertina for Theorbo and Marching Band in A-Flatbush (Stereo 8 review)

Also, Adam Baum: Konzert for Two Baroque Girls; Brother Buzz: Sting-Along Suite in D-major pain. Rt. Hon. Lft. Sir Cedric Noel Vivien Barnstable III, OBE, GYN, Bart., Simp., London Broil Effete Band. Blackadder Records 1185-1917.

Growing up was difficult for the Australian composer, pianist, lecturer, teacher, manufacturer, and titlark authority Jean-Claude Sly-Arnold von Mozert (1787-1743), born into abject poverty and raised in a foundling home for abject girls. He was sixteen years old before he had his own birthday, having to share his early years with other young women in the institution. Providentially, by the time he arrived of age, he become the titular head of the Salzburg Dirndl Manufacturing Company, inheriting the firm from his father, G.E.L. Beck, a noted merchant and titmouse specialist in the Salzburg area.

Young Mozert did not find himself until he was well into his nineties, when he famously exclaimed, “Huh? Where the hell am I?” At which point he began composing music, turning out some 243 symphonies, 57 concertos, 34 sonatas, 22 arpeggios, and at least one known partridge in a pear tree before his untimely death several months later.

Fortunately, Mozert’s biographer, Argentine writer and cinematographer Joaquin Mababie Bachholm, saved most of his compositions from decomposition, or we might not know the man today. Come to think of it, we don’t know the man today. Heck, they didn’t even know him in his own day.

Now, I can’t resist telling a very funny story about the younger Mozert. Oh, my, I’m laughing just thinking about it. The tale concerns the immature Master Mozert and two comely young lasses he met in an apothecary shop. Or was it a blind man he met in a window-shade shop? Come to think of it, it may not have been either, but what makes me think it was one or the other is because I remember the big flume warn’t finished when he first come to the camp, and the store curtains were drawn against the light. Yep, that story is something all right, a real knee slapper, but I guess you hadda been there.

Anyway, Mozert wrote most of his music long before he acquired an appreciation for the subject. Consequently, most of it sounds conspicuously devoid of rhythm, melody, harmony, color, tone, voice, or instruments. Although critics over the years have generally characterized his work as nothing more than hour-long periods of sustained silence, this may be giving the composer short shrift, since one could easily discern a marked degree of wind noise in the confessional. Whether this effect emanated from the priest or the penitent after a particularly flatulent repast is wholly subjective and worthy of further auditory if not olfactory scrutiny.

Oh, and people tell me the disc also contains music. I didn’t have time to listen. However, what I can tell you is that the performance is excorticating and the sound a model of exemplar, with a rich, chocolatey high end; a creamy, indigent French-vanilla midrange; and a decidedly musty, lemon-meringue bass. Combined with the pungent aromas of a fine blush wine, say a Chateau Mountebank ‘04, a D'Alesandro Pelosi ‘07, or an Eau de Boehner ‘13, it may be hard for the ordinary bourgeois auditeur to resist.

To hear a brief excerpt from this album, click here:


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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 ofThe $ensible Soundmagazine 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