Concertos - Flute, Flute and Harp by W. A. Mozart
Mozart - Flute Concertos - Les Musiciens de Saint-Julien
- François LAZAREVITCH (flute), director
- Sandrine CHATRON, harp
- Les Musiciens de Saint-Julien
- Recorded: Salle Colone, Paris, June 2023
My exposure to Mozart’s so-called wind concertos was by way of a DG recording by the Orpheus Chamber Orchestra. At the time, the number of recordings on period instruments were fewer in number. It was well-done, as I remember, but in hindsight, maybe with too much polish. I make an analogy to furniture that’s been burnished with a soft cloth and ample polish to gleam in the light without any imperfection. Mozart’s music takes well to this approach. But over time I’ve admired performances more so that are less than polish-perfect.
The timbre of period instruments—like the flute used in this recording—and of period horns that have that especial color being a bit “out of tune,” or the runs that are sped up with extra energy by the conductor, juicing just a little more out of Mozart’s ideas. These are the performances I’ve come to admire most. And that’s the flavor you’ll encounter here on this recording featuring concertos for flute. The C major concerto for flute and harp is also included, K. 299.
The recording’s sound is nearly ideal; the flute comes across in full detail against what I gauge is the perfect size of chamber ensemble. The amount of reverb is good with adequate detail from the strings; the winds are clearly further away but when everyone is playing, the blend is nice.
The booklet notes are short but include an revealing interview with the director which I very much enjoyed.
I am more familiar with Lazarevich playing baroque repertoire but his experience pays off here—the sound of his flute is really delicious. It clearly is an historical model, I’m not going to say it competes with some modern flutes in terms of a full sound, but it’s that case of how the instrument changes across its gamut that makes me like it so. (He uses a different historical instrument for the concerto with harp.) His range of articulation and the way he shapes notes differently showcases his expertise. The slow movement in the G major concerto is as good as any of the examples to hear this most clearly, as is the short candenza in the first track.
The opening of the flute and harp concerto reveals to us the nuance Lazarevich has imparted to the ensemble to dress the performance with strong dynamic vitality. The pairing of flute and harp has always sounded right to me in spirit, both being somewhat delicate instruments. The sound here of a period harp is revealing, recalling the somewhat percussive quality of a harpsichord but also sounding more like a psaltry. The instrument has far less sustaining power than a modern concert harp. As it may have sounded to audiences during Mozart’s time, it carries with it a bit of an exotic character that lends charm to the piece. Mozart writes true melodies for it rather than letting it accompany the flute. Both soloists here seem to be on equal footing in terms of exposure against the ensemble.
The very fine recording by Il Pomo d’Oro featuring Mozart’s Oboe concerto is well played, but the depth of soundstage is nearly flat compared to the character of this recording. I’d go so far to say that Lazarevich is even more nuanced in his approach, providing us more timbral variety to his sound. In the last movement there are sections where I don’t honestly know where he’s taken a breath, he makes it all sound so effortless.
While I don’t admire these concertos nearly as much as Mozart’s symphonies, both the supreme artistry of Lazarevich and the recorded sound on this album position this for me as a forerunner among albums featuring Mozart’s concertos for flute. I am thankful they took on this project. The inclusion of cadenza material inspired by Mozart is nice; Lazarevich notes that he turned to Mozart’s surviving cadenzas for several piano concertos as inspiration.
