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Mozart: Symphonies 38 - 41

Scottish Chamber Orchestra

Mozart: Symphonies 38 - 41

...exhilarating and thrilling
CKD 308 (Linn Records)
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Tracks: Listen and Download

Format
Track Time Listen Track Price
1
Symphony No. 38 in D major (‘Prague’), K.504 - I Adagio - Allegro

Symphony No. 38 in D major (‘Prague’), K.504 - I Adagio - Allegro

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
17:43 Play $6.85
2
Symphony No. 38 in D major (‘Prague’), K.504 - II Andante

Symphony No. 38 in D major (‘Prague’), K.504 - II Andante

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
11:18 Play $5.10
3
Symphony No. 38 in D major (‘Prague’), K.504 - III Finale: Presto

Symphony No. 38 in D major (‘Prague’), K.504 - III Finale: Presto

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
7:46 Play $3.40
4
Symphony No. 39 in E flat major, K.543 - I Adagio - Allegro

Symphony No. 39 in E flat major, K.543 - I Adagio - Allegro

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
9:50 Play $3.40
5
Symphony No. 39 in E flat major, K.543 - II Andante con moto

Symphony No. 39 in E flat major, K.543 - II Andante con moto

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
8:02 Play $3.40
6
Symphony No. 39 in E flat major, K.543 - III Minuetto (Allegretto) & Trio

Symphony No. 39 in E flat major, K.543 - III Minuetto (Allegretto) & Trio

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
4:22 Play $1.70
7
Symphony No. 39 in E flat major, K.543 - IV Finale: Allegro

Symphony No. 39 in E flat major, K.543 - IV Finale: Allegro

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
7:49 Play $3.40
8
Symphony No. 40 in G minor, K.550 - I Molto allegro

Symphony No. 40 in G minor, K.550 - I Molto allegro

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
7:07 Play $3.40
9
Symphony No. 40 in G minor, K.550 - II Andante

Symphony No. 40 in G minor, K.550 - II Andante

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
13:25 Play $5.10
10
Symphony No. 40 in G minor, K.550 - III Menuetto: Allegretto

Symphony No. 40 in G minor, K.550 - III Menuetto: Allegretto

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
4:04 Play $1.70
11
Symphony No. 40 in G minor, K.550 - IV Finale: Allegro assai

Symphony No. 40 in G minor, K.550 - IV Finale: Allegro assai

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
9:27 Play $3.40
12
Symphony No. 41 in C major (‘Jupiter’), K.551 - I Allegro vivace

Symphony No. 41 in C major (‘Jupiter’), K.551 - I Allegro vivace

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
11:28 Play $5.10
13
Symphony No. 41 in C major (‘Jupiter’), K.551 - II Andante cantabile

Symphony No. 41 in C major (‘Jupiter’), K.551 - II Andante cantabile

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
10:27 Play $5.10
14
Symphony No. 41 in C major (‘Jupiter’), K.551 - III Menuetto: Allegretto

Symphony No. 41 in C major (‘Jupiter’), K.551 - III Menuetto: Allegretto

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
5:03 Play $3.40
15
Symphony No. 41 in C major (‘Jupiter’), K.551 - IV Molto allegro

Symphony No. 41 in C major (‘Jupiter’), K.551 - IV Molto allegro

Composer Wolfgang Amadeus Mozart
Conductor Sir Charles Mackerras
Band Scottish Chamber Orchestra
11:30 Play $5.10
Total Running Time 139 minutes Purchase all tracks 
$13.00 
Prices shown in US Dollars

A multi-award winning double album of some of Mozart's finest symphonic works. 

The SACD layer is both 5.1 channel and 2-channel. The Studio Master files are 88.2kHz / 24-bit.

Download includes - cover art, inlay, booklet
Scottish Chamber Orchestra

Scottish Chamber Orchestra

The Scottish Chamber Orchestra is one of Scotland’s foremost cultural ambassadors. The Linn series features performances conducted by Robin Ticciati, Alexander Janizcek, Joseph Swensen and Sir Charles Mackerras.
profile & recordings >>
Sir Charles Mackerras

Sir Charles Mackerras

Sir Charles Mackerras enjoyed a long relationship with the Scottish Chamber Orchestra and was renowned as an expert in Mozart interpretation.
profile & recordings >>
Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart

Mozart is one of the most enduringly popular classical composers. He is responsible for over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music.
profile & recordings >>

Produced by James Mallinson

This recording was named BBC Music Magazine's one of '5 Essential Works by Wolfgang Amadeus Mozart' by BBC Music Magazine in 2012 as well as being a winner at the 2009 Classical BRIT Awards (Critics' Award 2009) and the 2009 BBC Music Magazine Awards (Disc of the Year Award and Orchestral Award).

In their original review BBC Music Magazine stated: ‘These performances are so exhilarating that I listened to all four symphonies straight through at a first hearing, mesmerised by the variety and intensity of the music itself, sounding here completely fresh, and the virtually flawless renderings by the excellent Scottish Chamber Orchestra, with Sir Charles Mackerras at his most penetrating.'

This much-loved recording has received many awards and plaudits since its release in 2008:

Best Classical Record of 2008. The Sunday Times
Best Classical Record of 2008. HMV Choice
A disc of the year. BBC Radio 3's CD Review
A disc of the year. BBC Radio 4's Front Row
A disc of the year. Classic FM's The New CD Show
Gramophone Recommended. Gramophone
Classical CD of the Week. The Sunday Times
Orchestral Disc of the Month. BBC Music Magazine
Album of the Month. HiFi News 

 

 BBC Music Magazine Logo BBC Music Magazine's '5 Essential Works by Wolfgang Amadeus Mozart' 2012

 

BRIT award winner Winner Critics' Award 2009
Classical BRIT Awards

 

 

 Disc of the Year

Winner Disc of the Year Award 2009
Winner Orchestral Award 2009

 

 

Choc de l'annee

Winner Album of the Year 2008
Le Monde de la Musique Choc de l'annee Awards

 

 

 

 

 

 Disc of the Month

Orchestral Disc of the Month
BBC Music Magazine

 

 

G star

G Star - Recommended
Gramophone

 

 

 

Midem Classical AwardAlbum of the Year (Symphonic Works)
Winner - Midem Classical Awards 2009

 

Publisher's Choice Award

Publisher's Choice Recording
Winner - StereoMojo
Awards 2009

 

 

 

   

6moons.com Blue Moon Award

Blue Moon Award
6moons.com
 

 

 

 

Recorded at City Halls, Glasgow, UK from 3-9 August 2007
Engineered by Philip Hobbs
Edited, mixed and mastered by Julia Thomas, Finesplice, UK

Read a programme note by Sir Charles Mackerras

This release was part funded by the bequest of Isobel M Crawford.  The Scottish Chamber Orchestra is pleased to dedicate the recording to her memory, with sincere gratitude. 


Mozart Symphonies

Between 1764 and 1780 Mozart, based in Salzburg but frequently touring Europe, composed nearly 60 symphonies.  (There are more of them than the traditional 41, even allowing for the fact that not all 41 are by Mozart!)  That rate of composition averaged more than three symphonies a year.  In January 1781 Mozart was ordered by his employer, the Archbishop of Salzburg, to proceed to Vienna, where he contrived to have himself fired and then defied his father's orders to return home.  He was 24 years old.  An occasional tour aside, Mozart remained in Vienna until his death in December 1791.  During that decade he composed six symphonies.  What accounts for the precipitous drop in symphony production? 

Among various factors possibly bearing on this change in Mozart's priorities, two stand out.  The first of these was his need to support himself and his family as a freelance musician at a time when most musicians could achieve that goal only by working for the Church or by wearing livery in the service of a noble family.  Judging from his activities and the catalogue of his works during his final decade, Mozart most wanted and needed to compose operas, piano concertos, and domestic chamber music involving a keyboard instrument.  Operas were the most visible, prestigious, and lucrative works possible at the time and, if successful, the surest road to broad international recognition.  Besides, Mozart was a theatre person to his bones.  Piano concertos enabled Mozart to appear before his patrons at (mostly private) concerts, showing himself to best advantage as composer, keyboard virtuoso, orchestra leader, and impresario.  Domestic keyboard works provided fodder for his teaching activities, which were mandated by economic need, as well as income from Viennese music publishers, with whom Mozart was on intimate terms and from whom he sometimes cadged advances for not-yet-written music.

The second factor bearing on Mozart's late symphonies was the ongoing evolution of the styles and functions of symphonies in European musical life, of which his own output provides a striking example, articulated as it was by his move from provincial Salzburg to cosmopolitan Vienna.  Symphonies of the 1760s and 70s were more often relatively brief, usually less than ten minutes and frequently in three movements.  They were most commonly employed in framing or articulating functions: as overtures in theatre, church or chamber, and as entr'actes or interludes as well as concluding gestures in the same venues.  That is to say, although they were essential to those occasions they were not the main events which they were enjoined from upstaging.  However beautiful, novel or clever such symphonies may have been, they were generally meant to be easily performed and easily listened to - and in fact, Haydn's and Mozart's symphonies were occasionally criticized for overreaching those constraints.  A report of 1792 about the Hamburg Orchestra, for instance, said that the group's members were "such good, strong players and keep so calm that they perform correctly and at sight without error," but that when reinforced to play the latest symphonies, they would be "heroes to venture to play Haydn's symphonies (let alone Mozart's) at sight".

After Mozart had settled in Vienna and turned his attention to other genres, he found he could fill his need for symphonies in his concerts by programming works of other composers while also recycling some of his own symphonies from the 1770s, which were unknown there and which he had his father send from Salzburg.  That being the case, why did Mozart write symphonies in Vienna?  The answer seems to be, at least in part, that the best new symphonies were increasingly of a longer, more complex, more serious type - works that were gradually moving the symphony from the periphery to centre stage.  Indeed, when eight years after Mozart's death a Hamburg publisher brought out first editions of four of his Salzburg symphonies, a puzzled reviewer remarked that "... there is nothing more to be said of these symphonies, except that they - although not without good value and content - are really just quite ordinary orchestral symphonies, without any conspicuous traits of originality or novelty, and without any special artistic diligence.  Thereby one can quite clearly recognise youthful work, because they are on the whole so very plain...." Knowing, as we do, that Mozart prided himself on tailoring his music to the performers and occasions of the moment, we realise that it was lack of historical perspective that caused the reviewer to attribute to the composer's youth something that was probably more a result of a change in assignment, so to speak. 

Symphonies circulated around Europe primarily in hand-written copies.  Unlike Paris, Amsterdam and London, with their flourishing music publishing industries, in Vienna symphonies were not published prior to the 1780s.  Earlier, Joseph Haydn's symphonies had circulated exclusively in pirated manuscripts, since Haydn's boss, Prince Eszterhazy, owned the proprietary rights to his employee's music.  In 1779-80, however, Haydn renegotiated his contract to allow him to sell his own music.  Whether these two developments were directly or indirectly related is not clear, but between 1782 and 1787 the Viennese firm Artaria (also Mozart's principal publisher) brought out editions of seventeen symphonies by Joseph Haydn, three by Michael Haydn, three by Antonio Rosetti, and one by Pleyel, while Kozeluch self-published six symphonies.  Mozart joined the trend in 1785, when Artaria published his B flat symphony, K.319, written in Salzburg, and his D major (‘Haffner') symphony K.385, written for Salzburg - two excellent but by-then conservative works. 

So why did Mozart write symphonies in Vienna?  Perhaps many of the symphonies he had previously relied on began to sound old-fashioned or too simple.  The ‘Haffner' symphony was commissioned from Salzburg, although Mozart was happy to reinforce its orchestration for use in Vienna.  The ‘Linz' symphony was written in and for ‘Linz' when, returning from Salzburg to Vienna in 1783, needing to put on a pair of concerts with the private orchestra of his melomaniacal patrons, the Counts Thun, father and son, and finding himself without a single symphony in his baggage, Mozart quickly scribbled one.  Scribbled?  Hardly!  The ‘Linz' is the first of the completely modern, grand symphonies in which Mozart - his back to Salzburg and his face to Vienna - acknowledged and responded to the new symphony aesthetic.  After that, there was no turning back, as Mozart's last four symphonic masterpieces amply attest. 

The so-called ‘Prague' symphony was composed for a series of Advent concerts in Vienna.  Soon afterwards Mozart took off for Prague, where the Symphony's brilliant success made it into a canonic work and provided its nickname.  As reported in 1798 by the Prague school-master Franz Niemetschek, who had met Mozart and would become his biographer and help to educate his orphaned sons, the ‘Prague' Symphony, "played with great élan and fire, so that the very soul is carried to sublime heights...is still always a favourite in Prague, although it has no doubt been heard a hundred times". 

The final three symphonies, completed in the summer of 1788, were presumably intended, following Mozart's usual methods for wringing maximum income from his music in an era before the existence of copyright laws, in the first instance for subscription concerts in the autumn of that year, then for sale in manuscript to a small circle of faithful patrons, and finally, when the novelty and exclusivity had faded, for publication.  That there were three symphonies was probably not fortuitous, as opuses most often comprised three works, or multiples of three, in the same genre.  Alas for Mozart's plans, in February 1788 Austria had entered an ill-fated war against Turkey, the nobility were mostly either fighting at the front or cowering on their country estates, the economy sagged, theatres were closed and cultural life slowed to a crawl.  The need for monumental new symphonies evaporated.  Mozart turned his attention to his upper-middle class friends and patrons and the kinds of chamber music they liked and could afford. 

The theatres, halls, music rooms and salons in which Mozart performed his symphonies were small compared to most modern concert halls.  His orchestras were correspondingly smaller than a full symphony orchestra as well, and his listeners were positioned correspondingly closer to the musicians.  (At private concerts they would sometimes play along, or sit or stand in the orchestra to observe more closely.)  These factors meant that orchestral music must have sounded more intimate, nuanced and transparent than we often hear in large modern halls with enlarged performing forces.  How delightful, then, that the close microphones and digital technologies of a modern CD of Mozart's last four symphonies performed by the Scottish Chamber Orchestra conducted by Sir Charles Mackerras, seem to restore some of the intimacy, nuance and transparency we imagine that Mozart's audiences enjoyed. 

© Neal Zaslaw, 2007

A Note from Sir Charles Mackerras 

The four symphonies presented here show Mozart at his most diverse, both in musical content and in orchestral colouration.  At least two of them have a distinctly operatic flavour.  The Prague' Symphony No 38, K.504, performed in that city at the height of the 'Figaro mania', contains many of the sounds and moods we associate with that opera and perhaps even more with Mozart's later Prague opera, Don Giovanni.  Consider the solemn slow introduction which ends with a poignant chromatic passage in D minor so like a cry of pain.  This gives way to an ingenious three part Allegro theme which is repeated over and over again in different contrapuntal combinations (though never once identically).  This is perhaps the most intellectual movement of any of Mozart's symphonies, save perhaps the last pages of the ‘Jupiter'.  The Andante and the mercurial Finale present so many shades and moods, changing continually from major to minor, that they remind one irresistibly of the big finales in Figaro and Don Giovanni.

Similarly, the next symphony, Symphony No 39 in E flat, K.543, has an orchestral colour unique in Mozart's symphonies.  This comes from his use of clarinets rather then traditional oboes as the main woodwind instrument.  Mozart had already used the clarinet in the key of E flat to gorgeous effect in both da Ponte operas (consider much of the music associated with the Figaro Countess and Donna Elvira). He had also used the softer colours of the clarinet in his E flat Piano Concerto, K.482. However, the instrument pervades the whole symphony and there is hardly a phrase where its limpid quality does not add entirely new colours to Mozart's symphonic palette.  The immense range of the clarinet (because of its cylindrical bore) is used to great effect in the trio of the minuet in which the first plays a serene melody high up in its register, while the 2nd chortles away on an accompaniment two octaves lower.

The Symphony No 40 in G minor, K.550, has been described severally as "frantic, anguished neuroticism" (H.C Robbins Landon) and of "Grecian lightness and grace" (Robert Schumann). The outer movements indeed express a nervous quality not present in Mozart's minor key piano concertos or in his earlier 'Sturm und Drang' 'little' G Minor Symphony, K.183.  Note how the consoling second subject in the relative major key sinks to the depth of despair in the recapitulation, as it refuses all comfort in the home minor key.  This is especially true of the Finale where the development section starts off with an almost Schönbergian tone row and then leads the listener through a bewildering number of foreign keys until finally it lands back in its original G minor.

Mozart first composed this tragic work featuring the plangent tones of the oboes against the throbbing of the strings. However, he re-wrote the woodwind parts to include his favourite clarinets.  In the slow movement we again hear the clarinets in the key of E flat, while in the trio of the minuet the oboes are allowed to come to the fore in a sunny G major.

Mozart's last symphony, Symphony No 41 in C major, K.551, later dubbed ‘Jupiter',  probably because of its majestic opening movement or its 'jovial' and 'Titanic' finale, seems to sum up Mozart's whole symphonic production with its subtlety and grandeur. But amidst the fanfares of trumpets and drums of those outer movements, Mozart still has one new colour up his sleeve: the muted violins of the slow 2nd movement. Mozart hardly ever used this colour in a symphony and yet the Master says ‘farewell' to the symphonic form by means of a gorgeous veil over the sound, investing a special quality in it which even pervades the great C Major climax in the second part of the movement.  A truly original colour in this final symphony of endless tonal variety. 

© Sir Charles Mackerras, 2007

Mackerras' Mozart named in all-time Top 30
12 July 2013
iTunes include 'Mozart Syphonies 38-41' in its Essentials series
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'Mozart Symphonies 38 - 41' named as one of the best discs of the past 20 years!
30 July 2012
BBC Music Magazine celebrates 20 great recordings...
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Interview with Robin Ticciati
01 August 2011
'...a career that promises a long life of excitement.'
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Sir Charles Mackerras - One of the greatest conductors of all time
01 April 2011
As voted by BBC Music Magazine
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The SCO crosses the Pond
20 October 2010
Orchestra announces 4 US dates
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Linn is named Label of the Year
01 October 2010
Linn's a winner at the 2010 Gramophone Awards
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Mozart Symphonies in the Classical Charts!
22 March 2010
The SCO and Sir Charles are in the charts...
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Sir Charles Mackerras is Artist of the Week
20 March 2010
The Mozart Symphonies conductor is celebrated on Gramophone Archive...
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Grammy nominations announced...
04 December 2009
Mozart's producer and the COE in the running!
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Mozart Symphonies sessions news
16 July 2009
Exclusive preview
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Sir Charles and the SCO triumph at the Classical BRITs!
15 May 2009
'Mozart Symphonies 38 - 41' wins Critics' Award
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Mozart in chart for 4th week
05 May 2009
Bestseller in the Chart at No.6
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Classical Brit Awards nominations announced...
21 April 2009
Double nomination for Mozart Symphonies 38 - 41!
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Mozart Symphonies in Official UK Classical Chart
15 April 2009
Top seller re-enters the chart at number 4!
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Mozart Symphonies triumphs at the BBC Music Magazine Awards
08 April 2009
The SCO and Sir Charles Mackerras win two awards!
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Linn Records' Business Manager on BBC Radio
08 April 2009
Caroline Dooley discusses the Disc of the Year award
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The end of voting is near for BBC Music Magazine Awards
24 February 2009
Click here is you haven't voted in the 2009 Awards!
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BBC Music Magazine nominates ‘Mozart Symphonies 38 – 41’
28 January 2009
Scottish Chamber Orchestra in shortlist for awards
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Success at the Midem Awards!
21 January 2009
The SCO and Sir Charles Mackerras triumph in Cannes
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SCO and Sir Charles Mackerras shortlisted for award
13 January 2009
A Midem Award for 'Mozart Symphonies 38 - 41'?
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Best Orchestral Recording of 2008 from Classic FM
06 January 2009
Yet more praise for 'Mozart Symphonies 38 - 41'
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Mozart Symphonies in another Best of 2008
18 December 2008
BBC Radio 4's Front Row selects recording as a Pick of 2008
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Les Chocs de l'année 2008 for the SCO and Sir Charles Mackerras
25 November 2008
The French publication honours 'Mozart Symphonies 38 - 41'
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Sir Charles and the SCO impress
22 August 2008
Edinburgh treated to a memorable musical evening...
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There are 2 customer recommendations - Read all >>

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iTunes
Named number 8 in: iTunes top 30 classical albums
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The Observer
'Mozart's last four symphonies...have rarely shone as luminously as in these uplifting accounts.'
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The SCOTS Magazine
'...a lasting momento of a tremendous association.'
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allmusic.com
"They have the same drive and verve as his earlier work, but his vision now seems clearer and more radiant than before."
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Audiophilia.com
"...once playing, it is almost impossible to turn off!"
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ResMusica.com
une présentation exceptionnellement belle
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6moons.com
Blue Moon Award: "...Sir Charles Mackerras' vision with the SCO is one of the very finest of the modern era..."
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StereoMojo
Publisher’s Choice Recording: "complete mastery...One can only say bravo."
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The Berkshire Review
"...the greatest interpretation of the Mozart symphonies of our moment..."
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Qantas in-flight magazine
Original passsion and flair...Outstanding.
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Sunday Times
Number 1 Classical Record of 2008
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HMV Choice
Number 1 Classical Record of 2008
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AudioVideoHD
5 Stars
"En definitiva, una auténtica delicia, con una grabación exquisita, característica intrínseca de Linn Records."
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Fanfare
"Magnificent."
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Star Ledger of New Jersey
4 Stars
"...blending period style with modern virtuosity."
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Classica Repertoire
"Nous aimons...beaucoup"
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LiveGuide.com
"These may be the best versions of Symphonies 38 and 39 ever recorded..."
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Crescendo
An "admirable" performance
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Scherzo
'Excepcional' Award from the Spanish publication
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MusicWeb International
Recording of the Month: "...a benchmark of our time."
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Expansion
'Mozart vive!'
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hi-fi +
4½ Stars
Quite brilliant...truly majestic.
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Opus Musica
Disc of the Month
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Early Music Review
...powerful, individual readings.
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Klassik.com
5 Stars
So gelingt gleichsam unter der Hand Mozart-Interpretationen, die man zu den überzeugendsten dieser Sinfonien zählen darf.
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Gramophone
Every bit as good as you would expect. Gramophone Recommended.
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HiFi News
Album of the Month
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The Ticket (Ireland)
4 Stars
simply irresistible
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The Guardian (Live)
5 Stars
Mackerras's Mozart is full of the life-affirming vitality more often associated with youth
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International Record Review
A vibrant and utterly gripping appearance from first moment to last, and all caught in sound that is amazingly lifelike. No Mozartian should be without these inspiring discs.
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MusicalCriticism.com
4 Stars
"[It] really is as good as it gets."
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audiophile.no
5 Stars
Linn Records har spilt inn Mozart sine fire siste symfonier. Til denne oppgaven har de selvfølgelig håndplukket Scottish Chamber Orchestra dirigert av Sir Charles Mackerras.
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McAlister Matheson Music
A recording of "delicacy and spice...grandeur and exuberance"
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Audiophile Audition
4 Stars
some spectacular readings in first class sonics
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The Scotman (Live)
4 Stars
"...power-packed Mozart that has you sitting on the edge of your seat craving more."
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Atlanta Audio Society
...Performances that may well take their place among the best on record.
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The Times
5 Stars
among the very best recordings of these four symphonies on disc
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BBC Music Magazine
5 Stars
Orchestral Disc of the Month: "exhilarating ... ravishing"
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The List
4 Stars
exciting and thrilling
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MusicOMH.com
5 Stars
Anyone who loves classical music has to own this recording...this will be one of the year's finest recordings.
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The Observer
Mozart's last four symphonies...have rarely shone as luminously as in these uplifting accounts.
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Independent on Sunday
...Few recordings have the authority and warmth of this release.
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The Herald
5 Stars
This will have you out of your seat with excitement...a Mozart set to match any.
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The Week
5 Stars
...Astonishing...
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Financial Times
...Sheer vitality...
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BBC Online
This recording should have you stampeding to the record shops.
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Metro
5 Stars
Pure delight.
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SA-CD.net
5 Stars
I can't imagine Mozart being better performed...a wonderful set that will remain long in the memory.
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The Sunday Times
5 Stars
Classical CD of the Week: Possibly their finest record to date...I don't know more enthralling accounts of the G minor and the Jupiter on disc.
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ClassicsTodayFrance.com
4½ Stars
An outstanding review for the orchestral recording
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The Guardian
5 Stars
These are the finest versions of Mozart's greatest symphonies to have appeared on disc in years.
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ClassicalSource.com
Beautifully judged...exciting listening
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