Let's talk Mozart's symphonies. First of all, I like music that goes for the Big Statement, and for me no form in the classical realm epitomizes that ambition better than the symphony. (Some might argue opera is the ultimate musical Big Statement...but that's for another thread, heh.) Secondly, I think Beethoven and Mahler were the two greatest symphonists ever, because between them they exploded and expanded the symphonic form to create the most emotionally complex and powerful orchestral music I've ever heard.
However, in between the heroic heights of Beethoven and the tragic depths of Mahler there is a place for Mozart: his version of the symphony is a refreshing tonic after the storm and stress ("Sturm und Drang", heh) of Beethoven and the neurotic pathos of Mahler. Mozart wrote 40 or so symphonies, but really, who cares about the early ones? It's only the last handful that are discussed and performed with any regularity. His late symphonies are grand constructs in their own right, and I love them for their cool classical charm. The brutal struggle at the heart of Beethoven's and Mahler's music is inspiring, but so is the polished beauty of Mozart's. His 38th "Prague" Symphony is maybe my favorite of all his orchestral works, and it has such a positive, feel-good finale that it practically smiles at the listener. It seems to brush away the dust and cobwebs and all strife, and assert that life is good and worth living.
For the past week I've been listening to a new re-issue of Leonard Bernstein's recordings of Mozart's late symphonies with the Vienna Philharmonic from the 1980's, re-packaged as a 3 CD set. It's good to see these recordings again, after being absent from the catalog for a while. Though the New York Philharmonic was Lenny's "home" orchestra, he had also developed a close rapport with the Vienna players during the 70's and 80's, and this warm relationship culminated in these great Mozart performances of his final years (and also great performances of Mahler's Fifth and Sixth symphonies).
Much of my exposure to classical music came via Leonard Bernstein's and Herbert von Karajan's recordings, so I often like to compare their styles of interpretation. The flamboyant American Jew and the reserved, autocratic German--how's that for a politically loaded picture? I'm a huge fan of both conductors, but in Mozart's symphonies, Lenny's a Stud, while, er, Herbie's a Dud. (Sorry, Herbie). While Karajan and the Berlin Philharmonic are nearly unassailable in Beethoven's symphonies, in Mozart's symphonies it is Bernstein and the Vienna Philharmonic who rule. The epic, muscular power that Karajan and the Berliners bring to Beethoven is just too heavy-footed and overbearing for Mozart.
Bernstein and the Vienna players, on the other hand, bring a beautifully light touch and balletic grace to Mozart's symphonies, so the effortlessness of the music shines through. I also think these recordings by Bernstein and the VPO are superior to "authentic" period instrument renditions. Yes, it's fascinating to hear what an orchestra in Mozart's time would have sounded like, but as an emotional music-listening experience period performances often leave me cold. The sound of "authentic" instruments has amazing clarity, but it also tends to be so dry and thin that it sucks the life right out of the music. Bernstein and the VPO bring a warmth and affection to Mozart that is preferable to the harshness of period instruments, and to the lead-footedness of Karajan, while also being fleet and flexible enough to bring out the playful charm in his music. It probably helps, too, that Mozart's music is in Vienna's blood.
Leonard Bernstein, Vienna Philharmonic Orchestra / Mozart: Symphonies Nos. 25 & 29 and the Late Symphonies
Deutsche Grammaphon (Trio label) 474 349-2 (3 CD)
Highly recommended!
