Mozart: Divertimenti Nos. 11 and 17 (CD review)

Helmut Muller-Bruhl, Cologne Chamber Orchestra. Naxos 8.570990.

Mozart wrote a ton of divertimenti (well, several dozen at least), light music intended largely as background entertainment for social gatherings--dinners, parties, and the like--for families that could afford them. The two we find here, Nos. 11 and 17, are fairly prominent examples of the genre, conducted by the late Helmut Muller-Bruhl and his Cologne Chamber Orchestra. Maestro Muller-Bruhl died just a few months after making the recording, so it’s something of a swan song for him. He went out in style.

The Divertimento No. 11 in D major, K. 251, begins the program.  Mozart wrote it in 1776, probably for the name-day of his sister Nannerl. It’s a relatively small work in six movements, scored for an oboe, a pair of horns, two violins, viola, double bass, and strings; and it’s filled with the usual series of charming melodies we would expect from the young composer. Muller-Bruhl provides a warm, sunny, yet highly refined interpretation of the music. This is old-school Mozart, not your slingshot period-instruments presentation.

Nevertheless, this is not to suggest there is anything staid or stodgy about the performance. It is chipper, outgoing, and thoroughly delightful. After giving us a frothy opening Allegro, Muller-Bruhl offers up the first of two highly polished minuets. Between them we find a particularly graceful Andantino in a flowing dotted rhythm. The piece concludes with a spirited Rondeau and a march in the French manner.

Mozart composed the Divertimento No. 17 in D major, K. 334, in 1780 for the university graduation of a wealthy family friend. The piece is almost twice the length of No. 11 and displays a degree of maturity and invention somewhat lacking in the earlier work. Again, Muller-Bruhl gives us a gracious, friendly, cultivated reading, with an especially felicitous pair of Menuettos, things we would expect of dinner music. However, this is not merely background music; no Mozart could be. These well-developed musical arrangements verge on symphonies; in fact, you might even consider them overdeveloped symphonies, with their six-movement design. Whatever you call them, they’re quite entertaining in Muller-Bruhl’s capable hands. 

So, what Muller-Bruhl gives us are cultured, what some people might call sedate Mozart interpretations, old-school Mozart you could say, with accomplished playing from the Cologne Chamber Orchestra. To add another plus to the affair, the total disc time is over seventy-three minutes, something we don’t always find in this age of frugal recordings. Anyway, if  some of today’s more frenetic performances tire you, Muller-Bruhl’s more gentle approach may be right up your alley.

Naxos recorded the music at the Deutschlandfunk Kammermusiksaal, Cologne, Germany, in September of 2011. Typical of so many Naxos products, the sound is warm and full, with a slightly soft, veiled midrange and a slightly limited frequency and dynamic range. Still, these qualities are not severe and may be just what the music needs; they provide an easygoing atmosphere for Muller-Bruhl’s easygoing style. The moderately close-up miking allows for a big sound, too, very wide and acceptably deep.

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


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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.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa