Mozart: Gran Partita (CD review)

Serenades Nos. 10 “Gran Partita” and 11. Soloists from the Akademie fur Alte Musik Berlin. Harmonia Mundi HMM 902627.

By John J. Puccio

By definition a serenade was originally a vocal or instrumental piece performed outdoors in the evening (and usually outside the house of a woman). Today, it usually applies to light, multi-movement works for winds or scorings intended for orchestral performance. Mozart was so taken by the serenade that he wrote thirteen of them, the last one, “Eine kleine Nachtmusik,” being the most popular of the bunch. On the present recording we get two of his other popular serenades, Nos. 10 and 11, performed on period instruments by soloists from the Akademie fur Alte Musik and employing the number of musicians the composer indicated in the scores. The two works probably sound about as close to what Mozart intended as one can get.

Opening the program is the Serenade No. 11 in E-flat major, K. 375, written in 1781. It has five movements, and the Akademie play the revised version, which uses two oboes in addition to two clarinets, two bassoons, and two horns. The Akademie players are very precise in their coordination and articulation, so it’s a pleasure listening to their immaculate group effort. However, they do not seem to produce an abundance of joy, gusto, or cheer. Although they are not a somber ensemble--far from it with their brisk tempos--they are not a particularly exciting or jubilant one, either. They appear more businesslike, placing their emphasis on efficiency rather than exultation or merriment. Still, they produce such a soothing, pleasing sound, it’s hard not to like and admire their presentation.

The star of the show is the Serenade No. 10 in E-flat major, K. 361, subtitled “Gran Partita.” Mozart wrote it around 1781 or ‘82, although he probably didn’t subtitle it himself. Whatever, it’s a “grand suite” in seven movements, scored for two oboes, two clarinets, two bassoons, two basset horns, four horns, and a double bass. You might recognize the third movement Adagio from the 1984 movie Amadeus. It’s near the beginning of the film when Salieri tells us he can’t understand why God chose so coarse a fellow as Mozart to write such heavenly music.

Again, the Akademie play the serenade in a noble and assured manner with little room for playfulness. They are a purposeful group intent on performing the music as accurately as possible. As such, No. 10 comes off with a regal splendor, in which you may or may not hear a divine voice. It’s more earthbound than that, while nevertheless remaining a delight.

Artistic Director Martin Sauer and engineer Rene Moller recorded the music at Teldex Studio Berlin, Germany in January 2020. Miked a bit closely, the sound is extremely well detailed, transparent, and dynamic. Having as few players as there are involved ensures textural clarity but not a lot of air around the instruments or depth to the stage. No matter; the recording’s cleanness and lucidity win the day.

JJP

To listen to a brief excerpt from Serenade No. 10, click below: