Mozart: Symphony No. 1 in E flat major, K16

“Best of all are Susan Gritton's performances...Her phrasing is broadly sculpted, with expressive use of portamento, her darkly lucent tone evenly produced throughout its range. In the Beethoven Gritton catches all the distraught heroine's grief, self-pity and indignation...Warren-Green conjures fine, fiery playing from his orchestra here” Gramophone Magazine, October 2010

“The performances are as spirited and expert as one would expect from Ton Koopman's merry band.” Gramophone Magazine, May 2008

“They are played with such engaging style and elegance” Good CD Guide

“These two discs of Mozart's first 10 symphonies offer a unique view of the composer's earliest years of apprenticeship as a symphonist.
Ward and his orchestra show a sensitive response to the wealth of stylistic influences apparent in these works. Purists may question the inclusion of two of the symphonies, Nos 2 and 3, since neither work is actually by Mozart.
The former is attributed to the composer's father, Leopold, while the latter is Mozart's orchestration of C F Abel's E flat Symphony, Op 7 No 3. However, when they're played with such engaging style and elegance as here, these two works add a further important dimension to Mozart's early symphonic output. Where J C Bach's influence is most powerful (Symphonies Nos 1, 4, 5 and 6), the NCO presents the music's contrasting thematic characters with fine clarity, balancing the music's beautifully transparent textures with appropriate lightness of touch. The inclusion of trumpets and drums in the next three symphonies (Nos 7, 8 and 9) announces the young composer's growing brilliance and stature. In these pieces, the NCO moves into a higher gear, revealing Mozart's potent originality, with powerfully dramatic tuttis and expressively sung andantes. Mozart made his first trip to Italy in 1770, and the symphony he wrote in Milan that year (No 10) shows his enthusiastic incorporation of Italian stylistic models. Here the NCO's deliciously spacious orchestral playing shows Mozart's ravishing originality, with dramatic opposition of gesture and instrumentation in the exuberant allegros and a beguilingly graceful slow movement that winningly displays a keen awareness of the composer's innovative touches. These are indeed splendid performances, admirably complemented by vivid recordings.” Gramophone Classical Music Guide, 2010