Mozart: Symphony No. 35 in D major, K385 'Haffner'

“Even though the earlier symphonies lack the maturity and startling grandeur of the Prague and the Jupiter, Mackerras manages to wring every last drop from them, and the SCO's glorious playing is enhanced by Linn's admirable recording technique...Highly recommended.” The Observer, 7th March 2010

“There's a clarity to the acoustic as recorded in Glasgow's City Halls, which Mackerras uses to his advantage, instinctively bringing out telling inner lines...there's so much to enjoy on these discs - armfuls of wit and humanity...and vivacity aplenty too in the Haffner and Linz.” Gramophone Magazine, April 2010

“The Haffner is the king of this pack. Mackerras explores its shapes and textures with particular care. Opening and closing movements crackle with electricity. Everything comes stamped with character, intelligence and beauty.” The Times, 12th March 2010

“the Haffner and Linz are magisterial accounts of much-recorded music. Mackerras seems to find exactly the right tempo for each movement — the deliciously witty presto finale of the Haffner goes with irresistible zing — and revels in the festive spirit of the big outer movements” Sunday Times, 14th March 2010

“Clarity prevails, and animation. These are the kind of performances that make it difficult for the listener to sit still. One is impelled to pace or even dance around, to gesture and nod...when you are in a get-up-and-go frame of mind, Mackerras is the man, with rhythm and vigour to the fore.” BBC Music Magazine, April 2010 ****

“ For all their rhythmic life and variety, and the sheer joie de vivre that is so infectious in so much of the playing, Mackerras's interpretations may occasionally be too matter-of-fact and raw-edged for some tastes...though to counterbalance that, it's hard to imagine the final climax of Symphony No 36, the Linz, more conclusively or majestically presented.” The Guardian, 15th April 2010 ****

“Never less than honeyed in tone, the strings use vibrato sparingly, as a subtle colouring device rather than a wearisome all-purpose wash. Speeds are consistently spritely (but never gabbled), textures are wonderfully clear, wind and brass vibrant.” Graham Rogers, bbc.co.uk, 16th March 2010

“Throughout these symphonies, recorded "live" with his young, hand-picked orchestra, articulation is crisp and pointed, vibrato abstemiously applied. Mozart's intricate contrapuntal textures in the first movement of the Prague and the finale of the Jupiter have rarely sounded so lucid. There is no denying the finesse of Abbado's phrasing and his care for inner detail. The flowing tempos for the andantes are ideally chosen. Too often, though, I hear coolness, a touch of over-calculation, in Abbado's conducting. Some of the detached, period-style bowing can sound finicky. The outer movements of the Jupiter and the stupendous first movement of the Prague have nothing like the incandescence of Charles Mackerras's recent Scottish Chamber Orchestra recordings (Linn).” The Telegraph, 26th July 2008

“The booklet quotes Abbado saying, “The study of phrasing in Mozart is endless.” Yes indeed, and the fruits are borne out in the conductor's live performances of five selected symphonies with his bouncy, young Orchestra Mozart. The Haffner first movement is especially thrilling and the pianissimos in No 29 would charm a mouse. Effects in No 33 seem more heavy-handed, but the set’s major drawback is the sound: constricted in tuttis, lacking air.” The Times, 25th July 2008 ***

“Mozart emerges here as a vital elixir: using the period-instrument orchestra he founded to perform music of the classical era, Abbado brings a time-honoured Mozartian tradition, learnt from the pianists Friedrich Gulda and Rudolf Serkin, to bear on these much-recorded works. The prestos of the Haffner and “Prague” positively tingle with excitement; the great finale of the Jupiter reveals Mozart’s complex counterpoint with unerring clarity. Textures are bright and clear, the balance between wind and strings is ideal and the sublime melodies of the slow movements are “sung” with an Italianate cantilena Mozart would surely have revelled in. A classic set.” Sunday Times, 10th August 2008 *****

“This is some of the best Mozart conducting you will ever hear. These performances are above all triumphs of experience, innate musicality and understanding, meticulous yet clear thinking, and… the art of listening.” Gramophone Magazine, Awards Issue 2008

‘These are marvellous performances of the Symphonies Nos. 38 & 39, deeple considered and played to perfection by the Philharmonia. There is no better Haffner on disc and the performance of No.29 is not to be missed. In the last two symphonies power and elegance stand side by side.’ (The Gramophone)