Lindsay Kemp
March 2008

There is no need to argue the credential of Sir Charles Mackerras as a Mozart interpreter, so let us just say that this double CD of the composer's last four symphonies contains no surprises—it is every bit as good as you would expect. Like many modern instrument performances these days, it shows the period orchestra influences in its lean sound, agile dynamic contrasts, sparing string vibrato, rasping brass, sharp-edged timpani and prominent woodwind, though given Mackerras's long revisionist track-record it seems an insult to suggest that he would not have arrived at such a sound of his own accord. And, in any case this handling of it—joyously supported by the playing of the Scottish Chamber Orchestra—is supremely skilled; rarely will you hear such well judged orchestral balance, such effective marrying of textural transparency and substance. The 'Jupiter' in particular has a wonderful bright grandeur, yet reveals details in the brilliant contrapuntal kaleidoscope of the finale that too often go unheard.

Seldom, either, will you hear such expertly chosen tempi; generally these performances are on the quick side, but rather than seeming hard-driven they exude forward momentum effortlessly worn. Nowhere is this better shown in the slow movements (even with all their repeats they never flag, yet their shifting expressive moods are still tenderly drawn), but also conspicuously successful are the slow introductions to Symphonies Nos 38 and 39 (the former ominous, but alert, the latter full of intelligent anticipation with shivery violin lines falling like cold rain down the back of the neck) and the Minuet movements of Nos 40 and 39 (whose cheeky one-on-a-bar lilt does wonders for its tootly clarinet Trio).

These are not Mozart performances for the romantics out there. But neither are they in the least lacking in humanity. No, this is thoroughly modern-day Mozart, full of wisdom and leaving the listener in no doubt of the music's ineffable greatness.