Search - Wolfgang Amadeus Mozart, Carlo Maria Giulini, Berlin Philharmonic Orchestra :: Mozart: Symphonies Nos. 40 & 41 "Jupiter"

Beautiful Renditions of #40 and #41

Peter Prainito | Lombard, IL USA | 02/04/2006

(5 out of 5 stars)

"I own several different recordings of Mozart's symphonies #40 and #41 (The Jupiter). They are all very good, and range from authentic to modern instrumental versions. Before I purchased this Giulini/Berlin CD, I bought the Szell/Cleveland recording of #40 & #41 on Sony, which also includes #35 (The Haffner). The Szell/Cleveland CD bowled me over, as he and the Cleveland Orchestra usually do. The only reasons I bought yet another version is because I love these two Mozart symphonies so much and for the reputation of conductor Giulini (may he rest in peace). Well, AM I GLAD I BOUGHT THIS CD!!!! I have never been so moved by these symphonies in my life!!! Maestro Giulini and the Berlin Philharmonic are playing on another planet...or possibly in Heaven!!! Both symphonies are played at slower tempi than what one usually encounters. But before you assume that these readings are going to be boring and sluggish, think again!!! The well-chosen tempi bring out every nuance of these great scores. A wonderful blend of emotion and vitality, best describes this CD. The Berlin players milk every ounce of beauty from each note with such emotion that I felt like I was hearing these symphonies with a new set of ears. What a revelation!! Truly, this is music and music making that was Heaven sent. No matter how many other versions of these symphonies one may own, this CD MUST be heard to be believed. Highly recommended!!!"

First rate performances!

Hiram Gomez Pardo | Valencia, Venezuela | 02/06/2007

(5 out of 5 stars)

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One of the most fascinating aspects to remark around Mozart 's two last symphonies which were composed into a interval of just a fortnight among both of them, resides in the profound innovations brought by him.



Through the years, and devoid of the patina of the time, that may permeate fixed conventionalism and even freeze points of view, the 40th Symphony is by itself a device to explore - for the first time in this genre - the metaphysics of the anguish, so eloquently showed on the first movement. In this sense the second is much more than a dreamy Andante Cantabile, it's a future's leap of the Mahler' s scherzos, pregnant of precognitions and dark visions. Mozart would seem to express the oneness of the dissolution; you may realize how Mozart in the third movement suggests a sort of precognitive death's flapping of wings, to conclude in the most unusual final of visible unfinished feature.



There have been just a few conductors capable to remark so clearly this gentle dichotomy. It's like Amadeus would wish open the great gate of the mystery but just only he let to get into the breeze of it.



Sandor Vegh is one of them (try to find this out of print album DECCCA 448 062-2) or acquire this version that depicts and underlines so well this fundamental aspect of this K.



The 41th is extraordinary but we have in this sense a winner the version of Thomas Beecham with the Royal Philharmonic of 1957.

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