This disc is an atypical release for the Albany label, which mostly focuses on contemporary music, and it's not just the Mozart compositions that are atypical. The combination of performers might have come off of a 78 rpm album from the 1940s, when big-name chamber groups were rare and a first-chair orchestra player (clarinetist Sean Osborn is a member of the Metropolitan Opera Orchestra) might join with a pickup group of other musicians (the Ballard Quartet consists of an Australian, a Russian, and a pair of Americans from ...
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This disc is an atypical release for the Albany label, which mostly focuses on contemporary music, and it's not just the Mozart compositions that are atypical. The combination of performers might have come off of a 78 rpm album from the 1940s, when big-name chamber groups were rare and a first-chair orchestra player (clarinetist Sean Osborn is a member of the Metropolitan Opera Orchestra) might join with a pickup group of other musicians (the Ballard Quartet consists of an Australian, a Russian, and a pair of Americans from different parts of the country). The results are satisfying, and again reflect what a concertgoer of 50 years ago might have heard. The recording lacks the wistful, autumnal quality usually given to the Clarinet Quintet in A major, K. 581, retrospectively working back from Mozart's death not long after its composition. Instead, Osborn gives the music a straightforward reading focusing on the difficulty of the clarinet part. This makes sense, for Mozart wasn't planning on dying at...
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