Mozart: Horn Concerto No. 1 in D major, K412 (K386b) - download (MP3 & FLAC)

“Thompson has established himself at once among my favorite exponents of these irresistible compositions.” Fanfare

“This isn't just an excellent bargain version of the horn concertos, superbly played and recorded, but a valuable example of Mozartian scholarship on disc. Michael Thompson, directing the Bournemouth Sinfonietta with point and flair, plays the four regular concertos in revised texts prepared by John Humphries, as well as offering reconstructions by Humphries of two movements, designed as the outer movements, an Allegro, K370b and a Rondo, K371, for an earlier horn concerto written soon after Mozart arrived in Vienna. The Rondo played here as the second- movement finale of K412 is Humphries' reconstruction from recently discovered sources, and is much more imaginative than the Süssmayr version. It's a revelation too in the most popular of the concertos, No-4, to have extra passages, again adding Mozartian inventiveness.
For example, the tutti in the first movement before the development section is extended in a charming few extra bars. Thompson, for 10 years the Philharmonia's first horn, isn't only technically brilliant, but plays with delectable lightness and point, bringing out the wit in finales, and the tenderness in slow movements.
As conductor and director, he also draws sparkling and refined playing from the Sinfonietta, very well recorded in clear, atmospheric sound.
An outstanding issue for both specialist and newcomer alike.” Gramophone Classical Music Guide, 2010

“Michael Thompson plays with delectable lightness and point, bringing out the wit in the finales, as well as the tenderness in slow movements. He also draws sparkling playing from the Bournemouth Sinfonietta...an ideal modern successor to the vintage Dennis Brain versions.” Penguin Guide, 2011 edition

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

“This Concertgebouw survey of four wind concertos dates across a fair span of Mozart's adulthood. The First Horn Concerto was composed for Mozart's friend Joseph Leutgeb at Vienna in 1791; modern-day counterpart Jacob Slagter employs a warmly refulgent tone in his lively performance. Next, we have the First Flute Concerto (Paris, 1778). Emily Beynon's neatly executed, charming playing is well suited to the celebratory, sunny first movement. The Concertgebouw strings contribute hushed accompaniment in the Andantema non troppo.
Mozart's Salzburg years are represented by his Bassoon Concerto (1774) and Oboe Concerto (written in 1777 for the Italian oboist Giuseppe Ferlendis, who had joined the Salzburg court only a few months before). Bassoonist Gustavo Nuñez plays with fruity directness, displaying stunning agility in the Allegro and poignant playing in the Andante ma adagio. Alexei Ogrintchouk's oboe provides a melancholic Adagio nontroppo and a fluent impression of Mozart's felicitous inventiveness in the gleeful Rondo. All four soloists are principals of the Royal Concertgebouw Orchestra. The chamber incarnation sounds playful yet at ease. Phrases are shaded off and chords often shortened, but there is no selfconsciousness or evident struggle in the pervading cheerful spirit.” Gramophone Classical Music Guide, 2010