With a few major exceptions, most of Mozart's works are tied to specific situations and locales. That being the case, it's surprising that more recordings haven't been devoted to works he wrote in a certain place and at a certain time. One learns a lot from hearing all his Masonic pieces at one time, for example. And this disc, which offers a slice of Mozart's music from his 1778 visit to Paris, makes a satisfying whole -- and along the way makes a strong case for Mozart's authorship of the disputed Symphonie concertante ...
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With a few major exceptions, most of Mozart's works are tied to specific situations and locales. That being the case, it's surprising that more recordings haven't been devoted to works he wrote in a certain place and at a certain time. One learns a lot from hearing all his Masonic pieces at one time, for example. And this disc, which offers a slice of Mozart's music from his 1778 visit to Paris, makes a satisfying whole -- and along the way makes a strong case for Mozart's authorship of the disputed Symphonie concertante for flute, oboe, horn, bassoon, and orchestra, K. 297b, presented here in an adaptation by Robert D. Levin of a later and probably spurious version with a clarinet. The symphonie concertante was a genre of French origin, and the example here fits with the rest of the ingratiating, abundantly lyrical, slight but absolutely seductive music Mozart wrote in Paris. The Freiburg Barockorchester and leader Gottfried von der Goltz also offer the two versions of the middle movement of the...
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