Wolfgang Amadeus Mozart (1756-1791)
Symphony No. 34 in C, K338 (1780) [23:10]
Symphony No. 35 in D, K385 (1782) Haffner [18:14]
Symphony No. 36 in C, K425 (1783), Linz [33:23]
Slovak Sinfonietta/Matthias Manasi
rec. 2022, Philharmonie Zilina, Slovakia
Hänssler Classic HC22078 [75]

The opening movement of Symphony 34 is an intriguing combination of might and playfulness: a masculine show of strength, a feminine partner’s perspective, roles early juxtaposed, the loud male opening phrase immediately softly echoed thrice by the lady (tr. 1, 0:06). Less dutiful acquiescence than slightly mocking as Matthias Manasi plays it. The sparring of equals, the lady having the second theme (1:07), an egregiously lolling descent after the male’s rising ending flourish and cheeky dotted rhythms in the violins echoed by the first oboe and the violins finishing off (1:35) to say “We claim our domestic yet elegant way of life too.” The man counters with a Mannheim crescendo (1:45) but I like that Manasi, while still making it exciting, doesn’t force this pp to f, so the partners remain on good terms with their cheery banter. At the end of the man’s authoritative four rising violins’ chords (2:40) the lady’s echo on two oboes, now at the same dynamic, is legato and followed by a charmingly soft first violins’ curvaceous phrase (2:44). In the development (3:03) Manasi makes the sfp chords on oboes, bassoons and horns. more threatening, so you wonder if the lady’s gently playful mediation in the first violins can calm the man’s racing pulse in the second violins and violas. From 3:41 the oboes stay combative, the lady works harder, her response turning almost to arioso, the first oboe only at last relenting in echoing the lady, and so to the recapitulation. At its end the movement’s opening returns (6:35), followed by a richly sonorous coda (6:56) in which Manasi radiates a display of expansive wind chords, now comforting rather than threatening.

My comparison is with the 2010-11 recording by Ádám Fischer with the Danish National Chamber Orchestra (Dacapo 6.220544). Timing at 7:05 to Manasi’s 7:24, Fischer’s opening has more edge, bounce, and throughout the movement his timpani have more impact. But Fischer’s greater contrast in the lady’s soft echoes I feel overdone, making her seem minuscule and subservient. However, Fischer’s truer pp opening to the Mannheim crescendo makes it a more magically appearing picture of a huge force after barely discernible midgets. Fischer’s development is less ominous than Manasi’s, but the pleading quality of Fischer’s first oboe in high register is more striking.

The Andante di molto più tosto Allegretto slow movement incorporates two 4-demisemiquavers’ ornaments in the opening phrase of its main theme defining its fastidiousness, as does the sotto voce opening and use of strings alone except for two bassoons doubling the string bass. But, given the tempo indication, there’s momentum too. The melody rises with purpose to then fall luxuriantly and the descents, beautifully spread across the string parts, ensure an overall feeling of relaxation, mixing staccato and legato, contrast of loud and soft micro moments. Other themes attach themselves seamlessly, more like variants than new ones. The first of these (tr. 2, 1:13) begins playfully but soon becomes indulgently caressing (1:33) before distilling the overall experience (1:50) with gratitude and affection, the first violins now the main voice but the seconds earnestly, even maternally, in support. Finally, a tailpiece (2:27) savouring sweet major then troubled minor times. The second violins’ shadowing of the firsts points the significance of sharing both experiences, resolved through emphatically optimistic sforzandos (2:55, 3:00) and thereby a natural transition to the recapitulation. Manasi is ever alert, bright-eyed, bushy-tailed and has balletic neatness, charm without becoming twee. At the very end (6:42) the main theme first phrase of action comes again twice with a short, rounding off response of savouring in which Manasi gets just right the longing of leaning on the penultimate note (6:48, 6:59).

Fischer, timing at 5:43 to Manasi’s 7:02, prefers the Allegretto emphasis of the tempo marking while Manasi favours the Andante. Fischer is more delicate, sweet, shimmering and gossamery, but seems relatively insubstantial: try to grasp the experience and it has vanished. Everything is beautifully shaped but predesigned: I prefer Manasi’s more intense present focus and feeling; but if you listen to Manasi straight after Fischer you’ll think him a bit lumbering.

The finale is an uncontroversial Allegro vivace which Manasi makes a festive hubbub of open-air robustness, the loud tuttis being more rustic and abrasive than the strings’ soft dancing. Later the first violins alone have a spotlight of virtuoso swagger relished by Manasi (tr. 3, 0:27) before they turn on the charm in the soft second theme (0:35). Soon the oboes sing a duet (0:55) as if a couple toasting amid the mass partying, and finally horns and trumpets deliver sonorous fanfares (1:31). The finale’s second part (3:42) is ushered in by the oboe pair, while the violins now take the leading role signalling frenzied activity (3:54). Our oboe couple’s final toast (7:46) isn’t quite as joyous as might be because of the relentless pace through which Manasi secures tremendous verve.

Fischer’s oboe pair are even less joyous. Fischer, timing at 6:58 to Manasi’s 8:27 is stunningly relentless. Fischer’s loud tutti chords beginning the phrases are stern whip cracks against which the soft strings skitter as if trying to be freer in a hostile environment. Exciting, yes; party, no. A feat of endurance for listener as well as orchestra. Manasi offers larger helpings of enjoyment.

Why is Symphony 35 so popular? I suggest because its pared-down development from earlier serenade material gave it conciseness, boldness of projection and impact. Its loud masculine opening is grand and powerful, theatrical with two-octave leaps in the violins and trills to which the lady’s soft response is a relatively unaffected domestic sideshow. The flood of grandeur dominates, and where you’d expect a second theme (tr. 4, 0:56), you get the first in a persistent progress in the first violins against running quavers in the bassoons and string bass. Even when first and second violins coalesce in sustained notes and running quavers, the main theme, in the violas, stalks them (1:18) and the rising scales of awakening from this (1:34) exhilarate. The development (2:52) finds Manasi offering wind chords of stern foreboding, but the violins’ leaps, now soft, remain a backcloth presence anticipating the recapitulation which soon follows. Now the violins’ coalescing (4:10) is silkier while the violas grip the main theme more resolutely and the ensuing climax is irrepressible.

For comparison, I choose Ádám Fischer’s 2012 recording (review). Timing at 5:18, it’s only a shade faster than Manasi’s 5:26, with less brawn yet more edge. Fischer’s lady’s opening retort is more elegant, with more personality. Fischer makes more evident the virtuosity of the orchestration and the players’ enjoyment of the challenge shines through. He creates less impact than Manasi but a sunnier feel. I prefer the affectionate presence Manasi brings to the coalescing violins where Fischer concentrates on neatness of precision. Fischer’s development is emphatic but unscary, yet his interplay between violins, oboe and bassoon in the transition to the recap (3:11 in Manasi) has a beautifully achieved intimacy where Manasi is in comparison matter-of-fact.

The Haffner’s slow movement is an attractive Andante of G major warmth. Manasi takes it quite fast, making it companionable and accessible, a fastidious flowing melody enlivened by appoggiaturas and trills and the soft, clock-like constant accompaniment backing in groups of four semiquavers, a baton exchanged between the string parts. The second theme (tr. 5, 0:43), sprightly tiptoeing on second violins and violas, is introduced and backed by first violins’ semiquavers before their loud climaxing of it (0:56) showing their strength of heart. The ‘development’ (3:13) seems brief, placid savouring to provide a shift in focus so the recap can be welcomed. You really benefit from listening again to appreciate the intricacy of the mix of rhythms in the string parts set against the plain but glowing procession of chords in oboes, bassoons and horns. It’s a pity therefore that Manasi doesn’t repeat the second half of the movement, rendering it unbalanced having repeated the first half.

Fischer, timing at 6:04 to Manasi’s 5:27, offers a more standard Andante, for me less effective, rendering the melody a bit self-conscious. Fischer gives more attention to Mozart’s dynamic contrasts, but I feel this overdone in the second phrase, making the first violins’ soft response to the sforzando chord openings seem a little timorous gentleness. Elsewhere you might appreciate the rarefied quality of the soft first violins. Fischer’s solo oboe and bassoon responses treat their sfps in a more mellow and effective manner. The climax of the second theme has less confidence than Manasi’s, but I like the way Fischer’s oboe’s echoing of the first violins is spotlit at the end of both sections. Fischer also repeats only the first.

The Minuet is a running dialogue between, from Manasi, a loud, weighty, pompous man and softly responding lady, demure but also sparkling, sweetly dismissive and carefree. In the Trio (tr. 6, 1:06) Manasi gets across its swing and jocularity, but the ensemble seems congested for the requested soft dynamic, though the zip of the sforzandos in the second violins in the first strain (1:09, 1:11) and all the violins in the second strain (1:30) is neatly glancing. In that strain the overdone wind crescendo obscures the strings, but the crescendo of the first violins transitioning to the first strain recap (1:43) is satisfyingly tempered.

Fischer, timing at 2:48, is just 12 seconds faster than Manasi. In the Minuet, Fischer’s lady is softer and sleekier, a more pointed contrast. Fischer’s Trio, at a more appropriate, softer dynamic, is better balanced between strings and wind and more readily contented. Though Fischer’s sforzandos are less well shaped than Manasi’s, he brings fine poise to the humour of the final phrase of the Minuet’s da capo repeat, at 2:54 in a more prosaic Manasi.

Mozart wanted the rondo finale, marked Presto, “as fast as possible”. Its theme starts as Osmin’s Act 3 aria in The abduction from the Seraglio, ‘Ha, how I shall triumph’, a shorter, rhythmically simplified version of the opening two phrases, here starting quietly but a spur for running quavers’ fireworks which are new to this symphony, first in the upper, then lower, strings and bassoons, then alternating, then all together. In its loud second part (tr. 7, 0:22) the timpani have an important boosting and inciting role, and also in the coda at 3:45. Unfortunately, Manasi’s are disappointingly weedy, perhaps a recording balance difficulty. The first episode (0:32) on first violins and bassoons, soft with the occasional fp, Manasi makes a deft but still spirited involvement in the action. This is followed by a different, varied version of running quavers’ fireworks. The rondo theme return (1:11) has the effect of a false recapitulation as it launches into a transformed second part (1:21) of frenzied minor key territory and screaming wind scarily realized by Manasi and then a first episode return, rather forlorn in the minor (1:38). The next rondo return (2:05) is like a true recap and thus celebration. Now the first episode makes a happy third appearance (2:45) confirmed by an oboe solo repeat. The final, quiet and sweet return of the rondo theme starts the coda (3:31) before the Manasi’s exultant running quavers’ whoopee.

Fischer, timing at 3:39 to Manasi’s 4:11, triumphantly accepts Mozart’s challenge in a performance of utter orchestral virtuosity. Fischer’s timpani bite from their first strike and you sit back in admiration at the strings and bassoons’ scurrying quavers. Fischer brings more lilt to the second theme. His contrast between soft and loud passages is vividly maintained throughout, arguably to the comparative detriment of some of the quiet passages, for instance, Manasi gets more sweetness out of the final return of the rondo theme. But in general Fischer sweeps you away with his élan and seamless progression.

Symphony 36 for me starts a new path in dramatic engagement and ambivalence. It’s Mozart’s first with a slow introduction, a solemn, loud opening tutti and flourishes. But immediately the first violins break away in soft descents of sweet melancholy (tr. 8, 0:15) and the bassoon starts a 6-note mulling over figure (0:33) which eventually pervades the entire orchestra, appearing to resolve, then continuing to question. Near the close there’s a series of fps in the strings (1:13) and final loud emphatic flourish recalling the end of the very first phrase, but that six-note motif has created a latent unease. Manasi is right to clarify this, but perhaps overdoes it. The very first violins’ response would be happier sleeker. Here it’s careworn. This is countered by the forward sweep of the Allegro spiritoso main body of the movement (1:21) and chipper tutti second theme (2:33), yet its soft continuation is from Manasi less secure in character. Similarly, in the development (6:08), the soft passages seem circumspect in their exploration. The sensitive interchange between wind and strings from 6:38 is appreciable, but when the violins start their delicate 3-quaver groupings (6:45) I find them too sketchy, so is the tempo a little too driven? The standard lady’s role of elegant, relaxed foil to the man’s military confidence is here changed to nervy caution, from Manasi almost timidity, as the soft violins’ recapitulation (7:07) now appears, requiring bracing first aid from the ensuing tuttis. These are welcome, but you become nervous of the violins’ transitional passages skittering around (e.g., 8:31). Yet Manasi’s splendidly sonorous tutti coda (9:42) is a final rescue to remember.

I will make a comparison with the 2006 live recording by Roger Norrington conducting the Stuttgart Radio Symphony Orchestra (Hänssler 93215). Timing at 10:26 to Manasi’s 10:03 gives Norrington a touch more breathing space to make the violins’ solo contributions smoother, serious but not scared, allowing even some relaxation, for instance in the 3-quaver groupings and also recap. The very first response has sweetness as well as sadness, a more pointed focus which can incorporate hope, found too in the greater spring Norrington brings to the quiet opening appearance of the first theme. Set against this, Norrington’s tuttis are stiffer in their military precision and security than Manasi’s more festive ones.

The slow movement in this CD is marked Poco adagio, though the marking of the Bärenreiter urtext of the New Mozart Edition is Andante. Nevertheless, Manasi’s tempo flows reasonably. There’s one main theme, the lady at ease, soon sunnily flowering, untroubled by loud chords which are dealt with in a fiery sparkle of assertion in the first violins (tr. 9, 1:02) before returning to charming niceties, and then stronger assertion following the next passing darker ambience (1:17). The second part (4:16) provides a change of mood through a subsidiary theme, a rising scale in the string bass and bassoons (4:44) later taken up by first violins. Manasi neatly treats this as uncertainty with the excitement of creepiness, yet relatively easy to smooth over and return to the main theme.

Norrington’s CD also gives the Poco Adagio marking and, timing at 11:25 to Manasi’s 12:12, is a little more flowing, making the main theme less exquisite than Manasi’s yet lighter and comelier in its phrasing and the atmosphere more smoothly laid-back. Norrington also attends more to dynamic contrasts with the presence of the timpani strikingly clear in the loud chords (the first at 0:55 in Manasi) and the fanfares prefacing the two phrases ending both sections (first at 1:50 in Manasi), where Manasi’s timpani are barely audible.

Manasi’s Minuet has both energy and sturdiness but is also at times dapper, especially in the lady’s quiet looking on in appreciation (tr. 10, 0:30) in the second strain and then at the end the quiet recollection (0:47), left with happy memories of marching soldiers. Manasi’s brightness continues with the beaming oboe solo in the Trio (1:21) shadowed by soft first violins an octave lower. In its second strain (1:45) the bassoon is the soloist an octave below the first violins yet clearly the leader. On the return of the first strain bassoon dovetails the oboe solo. With dynamic contrasts well gauged you couldn’t imagine anything more eagerly joyous and contented than Manasi here.

Norrington, timing at 3:25 to Manasi’s 3:14, is for me a little too deliberate. By making the dynamic contrasts more extreme the movement becomes a display of technique rather than contrast of perspectives. Norrington’s Trio is trimly done but less fun than Manasi’s and in the first strain the first violins’ doubling accompaniment is too stifled.

The soft opening of the Presto finale (tr. 11) has the lady beginning the closing celebrations, musing with free play of imagination. The man’s response is a majestic tutti dance, by 0:21 in full swing, so the lady counters more airily between its statements. The second theme (0:45) is sturdier, blending these perspectives, bringing the two approaches convivially together. A variant of this (0:56) sets the first violins in 3-quaver groups against sustained notes in the bassoon and violas, with Manasi’s strings really lilting. In the tailpiece the 3-quaver groups grow in power, achieving heroic ferocity in the violins (1:13), then reverting to the lady’s vacillating musing (1:21), followed by a soft lead-in of semiquavers in the violins to something more demonstrative (1:31), preparing the apotheosis of the first theme (1:55) to climax the exposition. Manasi displays the contrast between the parties well. The development (4:17) juggles the perspective again, the man’s emphatic tutti from the first section (0:21) now softly and playfully dismembered by the lady, then again loudly championed by the man (4:29), only to be mocked softly by the lady on bassoon and oboe (4:46). Four more appearances across the strings ensure a calm-down to welcome the recap. Manasi maintains the good humour and high spirits even with much material repeated, so I don’t object here to Manasi not making the second section repeat, despite repeating the first section.

Norrington goes for a more striking, deliciously dramatic approach: the lady’s softness mischievous with more archness, the man’s loudness crisp and razor sharp. Norrington is more vivid and combative, Manasi sunnier and cosier. Against Manasi’s timing of 7:38, Norrington’s comparative timing is sprightlier at 7:00, though as he makes the second section repeat his actual timing is 10:05.

Michael Greenhalgh

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