Mozart: In-Between (CD review)

Symphony No. 23; Piano Concerto No. 9; Schuler: In-Between; others. David Greilsammer, piano and conductor; Lawrence Zazzo, countertenor. L’Orchestre de Chamber de Geneve. Sony 88725430254.

Everybody needs a gimmick, I remarked the last time I reviewed an album by David Greilsammer. That was Conversations, a disc that offered four segments comprised of three piano selections each, two Baroque masterpieces as the outer movements and a modern work in the middle. It was clever, and Greilsammer pulled it off pretty well. With this follow-up album, In-Between, Greilsammer provides several works by Mozart as a young man, a composer “in-between” his earliest youth and his adulthood, along with the premiere recording of a modern contemporary piece called In-Between by Swiss composer and musician Denis Schuler. While Greilsammer again handles the music quite well, I’m not sure he and his producer needed the “in-between” gimmick to sell it.

Anyway, David Greilsammer is a prizewinning pianist as well as the Principal Conductor of the Geneva Chamber Orchestra. Born in Jerusalem, Israel, he studied there at the Rubin Academy before entering the Juliard School in New York and making his solo debut in 2004. Apparently, one of the things audiences have enjoyed are his recitals juxtaposing Baroque and contemporary music, as he did in his earlier program. Now, he tries a similarly themed approach to Mozart.

Greilsammer says of the In-Between album, “Each of the pieces represents a different in-between situation, all guiding us towards the violent imaginary storm that occurs in Mozart’s heart. Once we have arrived inside this secret world, we suddenly find ourselves facing a battle between opposing forces: light and darkness, the human and the divine, childhood and adulthood, conservatism and innovation, solitude and the collective, love and hatred, past and present, dream and reality, father and mother.” I have only an inkling what he means, he gets so carried away with his highfalutin rhetoric. Fortunately, Greilsammer’s vague thematic connections cannot displace his excellent execution of the music, which sounds delightful.

The program leads off with Mozart’s Symphony No. 23 in D major, K. 181, written in 1773 when the composer was seventeen. Since it’s such a youthful work, that’s the way Greilsammer conducts it--youthfully, with plenty of exuberant energy. The symphony contains only three movements, in the Italian style of the day, and, coincidentally, Mozart wrote it after his third trip to Italy. It’s very brief, all three movements comprising less than ten minutes: fast-slow-fast, and more like an overture, really. Greilsammer has fun with it, even though the second movement isn’t so much fun as it is emphatically dramatic. The finale is ablaze with action, which Greilsammer appears to delight in.

Next, we get Mozart’s Piano Concerto No. 9 in E-flat major, K. 271 “Jeunehomme,” which he wrote in 1777 at the age of twenty-one. Here, Greilsammer both conducts the orchestra and plays the piano, and it’s also here that Greilsammer proves his worth. The piece has a delightful charm about it, and even if Greilsammer does go at it at a lickety-split pace, he never loses track of either the pulse of the music or the pleasures of the piano’s interactions with the orchestra. Meanwhile, the orchestra provides a flawless dialogue with the piano.

Then, after a typically rambunctious first movement, we get a surprisingly solemn and soul-searching second-movement Andantino that seems to come out of left field and which Greilsammer performs with great sensitivity. The final movement is also surprising in that it contains a lovely minuetto right in the middle of an otherwise presto presentation. It’s like a miniature concerto unto itself, and again Greilsammer impresses us with his spirited direction and virtuoso performance.

To conclude the program we find two passages from Mozart’s Thamos, Konig in Agypten, K. 345, another early work, interrupted between passages by Denis Schuler’s In-Between, written in 2010, and, finally, the aria “Venga pur, minacci e frema” from Mozart’s youthful opera Mitradate, re di Ponto, K. 87, which he wrote around 1770 when he was only in his mid teens. Although the modern Schuler work strikes an odd note alongside the Mozart, I suppose that’s the point. Schuler tells us he intended it to sound like breathing, the sound going in and out. Fair enough; but there seems little connection with Mozart outside of Schuler’s title coinciding with Greilsammer’s. In any case, I would rather have heard two longer Mozart pieces on the disc than the one longer work and four shorter ones, but we have what we have, and it’s all pretty good.

Sony recorded the music at La Chaux-de-Fonds, Switzerland in 2011, and they did a good job of it, too. The midrange is clear and taut, with an exemplary transient response. Highs sound reasonably well extended, and while the bass doesn’t need much low end, it’s there when necessary. The orchestra displays a realistic depth of image as well as being suitably wide. In the Concerto, the piano seems ideally positioned just slightly ahead of the orchestra, and even if it tends to change in size from time to time, it is hardly noticeable. A very light, warm, ambient bloom complements the music making nicely.

To listen to 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 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.

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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