Mozart: Serenade No. 6 in D major, K239 'Serenata Notturna'

During the 18th century it was common for noblemen to employ numbers of musicians to entertain themselves and their guests, and to add dignity and colour to occasions of Church and State. Music was frequently written to form a pleasant background to dinners and parties. Serious or complex music would clearly have been inappropriate for gatherings of this kind; it was the task of the composer to amuse the guests without overstepping his function and distracting them from the more important business of eating, drinking and making merry.

In these circumstances much music was produced which deserved no more than to be talked through; but composers of the ability of Mozart and Haydn responded with light music of a higher quality. The titles Divertimento, Cassation, Serenade and Notturno all refer to pieces of this kind. Elements of the old dances – allemande, courante, sarabande and so on – had fallen from favour, but the minuet was used a good deal and the style gallant was much in evidence.

Neville Marriner and the Academy of St. Martin in the Fields’ recording of Mozart’s most popular serenade – the ubiquitous Eine kleine Nachtmusik – made for Argo in 1970 has never been out of the catalogue, but the other works on this compilation, equally compelling, magically performed, have not, as often, seen the light of day on CD. Such is the case with the brief issue in Decca’s ‘World Of…’ series of the extended Divertimento KV 334 and the haunting Notturno for four orchestras, deploying extraordinary echo effects. These are complemented on this anthology with the Serenata Notturna, the three early Divertimenti KV 136–138, and the little-known but breezy Concertone opening the collection.

Otto Klemperer was one of the greatest conductors of the 20th century along with Wilhelm Furtwängler, Bruno Walter and Arturo Toscanini. His period in Cologne from 1954 to 1959 was considered to be one of the most fruitful and exciting of his career, and it was during this time that EMI’s classical producer Walter Legge tracked and signed him to the company following the departure of Herbert von Karajan.

His critically acclaimed recordings with the Philharmonia followed. This live studio recording from the WDR in Cologne has never been issued before. Klemperer’s conducting of Brahms’s Requiem, one of the cornerstones of the choral repertoire, achieves true greatness.

Gramophone Magazine said of his 1961 recording, ‘a conductor whose rugged feeling for the music pays colossal dividends’ sums up this 1956 account.

Both Elisabeth Grümmer (soprano) and Hermann Prey (baritone) were internationally renowned and highly respected.

The CD contains two interesting ‘extras’ – Mozart’s delightful Serenata notturna from 1954 and a rare rehearsal sequence of the Requiem, both issued for the first time.

WDR’s remastering is of very high quality aided by the excellent preservation of the original tapes.

Some of Mozart's lesser known symphonies are integrated for this Mozart/Maag release, with mono recordings of Nos. 28, 29, 34 (among the earliest of Maag's Decca recordings) coupled with stereo recordings of the Symphony No. 32 and the delectable Serenata Notturna. Everywhere, style, finesse and charm are evident in these performances.