Music Review: Mozart, Symphonies (Symphony No. 35 in D Major, K. 385 “Haffner”, Symphony No. 40 in G Minor, K. 550, Symphony No. 36 in C Major, K. 425 “Linz”) / Tarmo Peltokoski / Deutsche Kammerphilharmonie Bremen / Deutsche Grammophon
Summary: Adhering to Historically Informed Performance practices, Peltokoski brings fresh energy and flexibility to these works. However, what sets them apart is the way the young conductor infuses them with musicality, expressiveness, and refreshing alertness. Strongly recommended.
This is a splendid release. And it proves that bias can easily be overturned by quality music-making. What bias, you ask? Well, the first triviality has to do with the album cover, the aesthetics of which might not appeal to everyone. Then, there’s the usual scepticism regarding the age of the conductor and his contract with a prestigious label like DG (while I don’t subscribe to it, I’ve heard it many times). But guess what: this means absolutely nothing. These are some of the most remarkable renditions of the Mozart symphonies I have heard in a while.
Adhering to the HIP practice, Peltokoski favours thundering timpani, swift tempos, and sprightly rhythms. Where he excels though, compared to other HIP performances, is that he allows for more flexibility of expression, particularly evident in the slower movements.
The Andante from Haffner is both nostalgic and humorous, while both the Allegro first movement and the Presto finale are unleashed with exuberant energy. In fact, alongside Adam Fischer, this is one of the most thrilling performances of the last movement you are likely to hear.
When it comes to one of the very late symphonies, No. 40, the opening movement has all the drama and flair you’d expect from a great performance. Yet again, the highlight here is the Allegro assai finale, with Peltokoski highlighting the contrasting sections, while retaining both rhythmic articulation and emotional depth. Here, both strings and wind instruments truly outdo themselves.
The final symphony featured on this release is the Linz, a personal favourite of mine. And I can say Peltokoski and the Deutsche Kammerphilharmonie tick all the boxes (although to speak of boxes in Mozart’s oeuvre is to diminish its originality!) The first movement has always struck me with its alternating moods and nearly improvisatory thematic material. And indeed, when listening to this performance, I felt as if I were hearing the piece anew. It’s not that Peltokoski reveals new details (this has been done many times in HIP recordings) but the way he does it — in a word, the musicality he exudes from every bar as if the music is being created in the moment.
In fact, what ultimately distinguishes these performances is their profound musicality. They are expressive, focused, and refreshingly alert. If this release is any indication, I am eagerly anticipating Peltokoski’s future projects.
Rating: ★★★★★
