, November 2013
MOZART, W.A.: Symphonies, Vol. 1 (A. Fischer) - Nos. 1, 4, 5, 43 6.220536
MOZART, W.A.: Symphonies, Vol. 10 (A. Fischer) - Nos. 35 and 38 6.220545
Interesting that at the start of the eight-year old Mozart’s First Symphony’s opening Molto allegro, the marking for the first two chords is a secure forte, then the dynamic drops to piano for the slow chords in the fourth bar. Adam Fischer uses those intervening bars to build a dramatic crescendo, which certainly has an effect. In fact the whole of the first movement is greeted with a level of dynamic incident that lends the music an extra degree of impetus.
Fischer appreciates the importance of a secure bass-line, notably in the Andante of K19, whereas in the fierily driven finale he employs saucy, fast-action string slides. The Andante of K19a enjoys a winning lilt and the opening of K22 has a definite ‘Mannheim’ feel to it. Fischer and his enthusiastic Danish players imbue this youthful music with spirit and energy; they make the most of what’s in front of them and I have certainly never heard performances of early Mozart symphonies that I prefer.
The coupling of the Haffner and Prague symphonies of course ups the artistic stakes a thousandfold and here Fischer takes on a wealth of memorable competition. For the opening of the Haffner there’s a stern call to arms, followed by a brief easing of tempo, then a bristly transition to the busy main exposition. No repeats here, of course…though with playing as vivid as this you hardly need them. Just try the finale’s limpid opening and the ‘shock-tactic’ timpani-dominated onslaught that follows. You’re given a full roster of repeats and, as with Vol 1, the SACD sound is well balanced and admirably transparent. © 2013 Gramophone Read complete review on Gramophone