Mozart: Horn Concertos (CD review)

Also, Horn Quintet. Pip Eastop, natural horn; Anthony Halstead, The Hanover Band; Eroica Quartet. Hyperion CDA68097.

Who can resist the verve of Mozart's four horn concertos? And how many old English teachers can overlook the name Pip? Thus, it was with great expectations that I approached this Mozart recording with Pip Eastop on natural horn and Anthony Halstead leading the period-instrument Hanover Band.

A little background: Pip Eastop studied at the Royal Academy of Music from 1974 to 1976, subsequently becoming Principal Horn with the Antwerp Philharmonic Orchestra, the London Sinfonietta, the Wallace Collection, and the Gabrieli Consort; since 2005 he has been the Principal Horn with the London Chamber Orchestra. In addition, he has served as a professor of horn at the Royal Academy of Music since 1993 and at the Royal College of Music since 1995. He is no stranger to the instrument.

Anthony Halstead was first horn with the English Chamber Orchestra from 1972 to 1986 as well as with other noted orchestras such as the London Symphony and served as a professor at the Guildhall School of Music. During the 1980s and 90s, Halstead was a member of the horn section and a horn soloist with several period-instrument groups, including the English Concert, notably recording the Mozart horn concertos for Nimbus Records with Roy Goodman and the Hanover Band. For the past two decades or so he has lead the English Chamber Orchestra, the BBC Scottish Symphony Orchestra, the Scottish Chamber Orchestra, The Hanover Band, and other esteemed ensembles. He is no stranger to period and modern orchestras.

Wolfgang Amadeus Mozart (1756-1791) composed his four horn concertos between 1783 and 1791, never finishing the final one (numbered first), the second movement reconstructed here by Stephen Roberts. Mozart wrote the concertos for his lifelong friend, the horn player Joseph Leutgeb, as virtuoso showpieces for soloists to display their skills on the valveless horns of the day.

Pip Eastop
On the present recording we find Mr. Eastop playing a valveless natural horn, accompanied by The Hanover Band playing on period instruments. Heretofore, my favorite such period recordings have been with Lowell Greer, horn, Nicholas McGegan, and the Philharmonia Baroque Orchestra on Harmonia Mundi; and with Ab Koster, horn, Bruno Weil, and Tafelmusik on Sony or Newton Classics. In my book, Eastop and company now join this select group.

The Hyperion producers have organized the concertos on this disc according to their order of composition, starting with No. 2, which Mozart wrote first (1783). This opening concerto well exemplifies the work of the soloist and orchestra. The performers follow modestly vigorous tempos throughout, with little undue rushing about. The phrasing is likewise excellent, almost always at the service of the music. Maestro Halstead and Mr. Eastop partially reconstructed the opening Allegro, which sounds to me a little too weighty in tone but I suppose works to the advantage of the score in any case.

Next we hear Concerto No. 4 from 1786, always a delightful piece, which Eastop and company carry off successfully, especially in the flow of the Romance. The closing Allegro is lively, but some listeners might find it a tad too quick for their liking. To me, it sounded just right and invigorated the proceedings.

And so it goes through Nos. 3 and the unfinished No. 1, with playing of utmost refinement and spontaneity from Eastop and the Hanover Band. The opening of No. 1 appears particularly smooth and lyrical.

The program ends with Mozart's Horn Quintet in E flat major, K407, from 1782, Mr. Eastop accompanied by the estimable Eroica Quartet. It was the first work the composer wrote for his friend Leutgeb. In the arrangement, Mozart used two violas, which lends the piece a deeper, more mellow sound to complement the horn. Interestingly, the music seems to put more of a virtuosic demand on the horn player than the concertos, and Eastop comes through splendidly, every note the epitome of grace, color, and beauty.

Producer and engineer Adrian Hunter recorded the concertos at All Saint's Church, East Finchley, London in October 2013 and the quintet at the Parish Church of St. John the Baptist, Loughton, Essex in February 2011. The sound in the concertos appears quite realistic, the orchestra miked at a moderate distance, just enough to provide some breadth and depth to the ensemble and plenty of air and space around it. The horn sounds rich and mellifluous and well integrated into the orchestral setting, up front but not in your face. Detailing on the instruments is good in a lifelike sense, meaning it's warm and smooth, with no edge, no forwardness, no brightness. What's more, there is a strong dynamic impact and a wide frequency range to enhance the naturalness of the presentation. In short, this album is sonically among the best recordings of Mozart's horn concertos available. The quintet isn't bad, either, if a little more closely miked.

JJP

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 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.

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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.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa