Mozart: Horn Concerto No. 1 in D major, K412 (K386b) - CD

“This curious CD can’t be compared with any existing recording. Paul Kuentz’s accompaniments are nimble but not historically informed, and the unwary will be startled by Marc Geujon’s first entry...: he uses a corno da caccia...Geujon’s playing is sweetly shaded and agile, and there are moments when you do forget that you’re not listening to a horn...the three aria-like slow movements are blissful.” The Arts Desk, 7th July 2012

“Allegrini’s [sound] is a marvel – mellifluous, supple and ripe...Fluency and expressive grace are equal partners here. Abbado is ever-ready with a pertinent orchestral comment, an apt emphasis or a perfectly tailored phrase. Allegrini radiates the music’s joy, lyrical allure and poise...A hugely enjoyable disc.” The Telegraph, 18th August 2011

“[Allegrini] is certainly a suave instrumentalist, while once again Abbado conducts with a wonderfully light touch. The orchestra and Allegrini all play modern instruments, but there's a period sensibility about the way the textures are balanced and the phrasing shaped.” The Guardian, 18th August 2011 ****

“ In tune with Claudio Abbado’s bracing “new-old” approach to Mozart — sparing use of string vibrato, astringent, wind-dominated textures — Allegrini’s slightly rougher-edged way with this famous music could hardly be less like Brain’s suave cantabile. Especially in the “hunting call” allegro finales, the two Italians bring a rude, rollicking alfresco quality” Sunday Times, 21st August 2011 ****

“[Allegrini's] tone is full but flexible, sustained but lyrical, and he manages to impart a certain wistfulness to even the jolliest rondos...The orchestra...throughout, is a model of sophistication.” The Observer, 21st August 2011

“Allegrini can take the spotlight because he is an exceptional artist...Abbado's resilient rhythms and themes shrewdly differentiated in the first movement of K417 offer Allegrini a framework for remarkably secure playing. Remarkably varied in colour too, changing cast as the music modulates” Gramophone Magazine, December 2011

“Lin Jiang plays with a rich, opulent sound, beautifully rounded, displaying fine tonal contrasts. His fluency is phenomenal with even the most elaborate passagework cleanly articulated, so that the most famous movement of all in these concertos, the finale of No 4, is taken at a fast tempo while bringing out the joy of the piece. The orchestral sound is fresh and clear, with the strings of the West Australian Symphony Orchestra playing with commendable refinement and purity.” Gramophone Magazine, December 2007

“self-recommending. Boyd Neel once said that Dennis was the finest Mozart player on any instrument.” Penguin Guide, 2011 edition