MOZART Concertos Abbado


Bassoon Concerto KV 191

Flute Concerto No. 2 KV 314

Clarinet Concerto KV 622
Guilhaume Santana · Jacques Zoon
Alessandro Carbonare
Orchestra Mozart · Claudio Abbado
Int. Release 02 Apr. 2013
1 CD / Download
0289 477 9331 1
Winds of Joy: Claudio Abbado Conducts Three Virtuosi in Mozart’s Bassoon, Flute, and Clarinet Concertos

Track List

Wolfgang Amadeus Mozart (1756 - 1791)
Clarinet Concerto in A Major, K. 622



Alessandro Carbonare, Orchestra Mozart, Claudio Abbado

Flute Concerto No.2 In D, K.314


Jacques Zoon, Orchestra Mozart, Claudio Abbado

Bassoon Concerto In B-Flat Major, K.191


Guilhaume Santana, Orchestra Mozart, Claudio Abbado

Total Playing Time 1:02:10

All the characteristics of Abbado's earlier Mozart recordings -- the lightness and transparency of texture, the crispness of rhythm and the effortlessness with which the music falls into its natural shapes without a hint of contrivance -- are imprinted on every bar of all three concertos . . . [Flute Concerto K314]: Jacques Zoon plays it with such wit . . . The other two soloists are equally ingratiating: Alessandro plays the Clarinet Concerto with wonderful suppleness and liquid tone, while Guilhaume Santana gives every phrase of the bassoon work such an individual character that it's over far too soon.

. . . an attractive CD programme, and each receives a polished, agile performance . . .

. . . in the capable hands of Claudio Abbado, the Bologna Mozart Orchestra, and soloist Alessandro Carbonare, both the first and third movements sound like enormous fun to play . . . [Bassoon Concerto]: Guilhaume Santana tackles them with a cheeky dexterity, while cherishing the more mournful moments in the Andante Ma Adagio . . . Mozart's sparkling Flute Concerto rounds off the album with finesse . . . Cheerful and full of energy, this delightful album of concertos is the ultimate classical pick-me-up.

. . . [Oboe Concerto]: Jacques Zoon excels with his limpid "round" tone . . . Guilhaume Santana, with his orotund tone lacking any hints of wheeziness or flatulence, is no less of a star in the early but characterful Bassoon Concerto . . . Alessandro Carbonare's immaculate technique, mellifluous tone and aristocratic musical instincts -- sublime in one of the composer's most beautiful adagios -- are given instinctive support by Abbado and his players. This is Olympian Mozart, a pleasure to hear from first to last.

. . . Alessandro Carbonare produces a rounded, velvety tone, phrases immaculately and ornaments tastefully. He also explores with sensitivity the Concerto's shadows, and, in the finale, the moments of doubt and hesitation that throw the prevailing cheerfulness into relief. Abbado directs his hand-picked orchestra with finesse . . . textures are always transparent: Abbado ensures that important inner string lines tell, while flutes and high-pitched horns lend a bright sheen to the tuttis . . . [Jacques Zoon's] liquid tone and graceful phrasing and, crucially, sense of puckish mischief -- not least in his cadenzas -- made this, for me, the most wholly satisfying performance on the disc.

. . . Abbado brings characteristic clarity and energy to these performances by his Bologna-based Orchestra Mozart with three of its talented principal players. Alessandro Carbonare plays the late Clarinet Concerto with pleasingly soft-grained tone and some well-conceived ornamentation . . . beautifully in tone . . . the recording is clear and refined . . . Jacques Zoon produces an equally mellifluous tone in his accomplished performance [of the Flute Concerto] . . . Guilhaume Santana is a characterful soloist in the even earlier Bassoon Concerto . . . He also adds some neat decoration . . . The Abbado disc nearly represents the state of the art of modern-instrument Mozart performance and recording.

. . . the three soloists here are virtuosos who do not disappoint. They receive expert accompaniment from Abbado and the orchestra . . . [Flute Concerto no. 2 K. 314]: It is a bright and breezy work whose spirit Jacques Zoon and Abbado capture nicely . . . [Bassoon Concerto K. 191]: [Guilhaume Santana's] tasteful employment of vibrato suits the concerto well. I thoroughly enjoyed the performance and not only for the bassoon, as the horns also come through warmly in the orchestral accompaniment . . . The performances are captured with clarity and warmth.

. . . [Klarinettenkonzert]: So empfindsam und hochsensibel gestalten Solist und Orchester mit Abbado diese wohlvertraute Musik, dass wir gar nicht anders können, als sie wie neu in uns aufzunehmen . . . [Abbado] lässt das Orchestra Mozart sprechen, ob es nun ein Motiv, ein Thema, ein Satz oder ein Konzert ist. Er weiß, was kommen wird, er erzählt uns in jeder kleinen Phrase die ganze Geschichte . . . Viele Dinge kommen hier zusammen: die detailverliebte Einstudierung und das Gefühl der Spontaneität, die überzeugenden Tempi, die ausgelassene Spielfreude und die Eleganz. Jeder Ton hat seinen Platz, das Ergebnis aber wirkt trotzdem ungekünstelt. Es ist das pure Vergnügen.

. . . lockere Spielfreude.

Claudio Abbado gilt unbestritten als eine Kapazität in der Interpretation von Mozart . . . Abbado hebt in der vorliegenden Einspielung, wie bereits in seinen früheren Mozart-Interpretationen, die Transparenz und die Leichtigkeit dieser Musik hervor, so wie es der Ästhetik der so genannten Wiener Klassik entspricht . . . Sowohl der Klarinettist Alessandro Carbonare, als auch Jacques Zoon im Flötenkonzert und Guilhaume Santana im Fagottkonzert brillieren mit ihren Instrumenten; alle drei spielen hervorragend: gefühlvoll, technisch perfekt und dabei mit dem Orchester gut harmonierend . . . eine solide und anmutige Aufnahme . . .