Central European conductor Adam Fischer's cycle of Mozart symphonies with the Danish National Chamber Orchestra has been well worth following with its mixture of breakneck tempos and, in spite of that, extreme precision and detail. As the role of percussion grew in Mozart's symphonies, Fischer began to emphasize it more and more, and annotator Claus Johansen attempts to portray the big percussion sound in this concluding volume as a kind of Mozart for those who have heard "Stravinsky, Hendrix, and Michael Jackson." It's not ...
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Central European conductor Adam Fischer's cycle of Mozart symphonies with the Danish National Chamber Orchestra has been well worth following with its mixture of breakneck tempos and, in spite of that, extreme precision and detail. As the role of percussion grew in Mozart's symphonies, Fischer began to emphasize it more and more, and annotator Claus Johansen attempts to portray the big percussion sound in this concluding volume as a kind of Mozart for those who have heard "Stravinsky, Hendrix, and Michael Jackson." It's not really all that extreme, but in the one place where Fischer really does go for the blood and guts, in the Minuet of the Symphony No. 40 in G minor, K. 550, he perhaps pushes things a bit too far: the Trio seems to inhabit a different world from the Minuet, in a way that's not idiomatic to Mozart's style. In the opening movement of the G minor symphony and the finale of the Symphony No. 41 in C major, K. 551, Fischer combines whirlwind speed with the fantastic chiseling of detail...
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