Turnabout LP: Mozart Symphonies Nos. 38 and 39
On this LP from Turnabout (a subsidiary label of Vox Records) Peter Maag conducts the Philharmonia Hungarica (a defunct symphony orchestra that was based in Germany) in two symphonies by Mozart: No. 38 in D, K.504 (“Prague”), and No. 39 in Eb, K.543. Oddly, this recording is not mentioned in the Discography section of the Peter Maag website. Maag is a somewhat elusive figure in the world of conductors, not much to be discovered about him online. What I do know about him is that Wilhelm Furtwängler encouraged him to try conduting after Maag’s performance at the piano of Beethoven’s Piano Concerto No. 4. Also of interest about Maag is that his early Decca LPs with the London Symphony Orchestra are now collector’s items. In 1962, Maag left his musical career behind, believing he was losing touch with both music and his spirituality, and sought guidance from the Greek Orthodox Church. Before returning to music, he spent two years in a Buddhist monastery near Hong Kong.
K. 504 takes its rise from the opening Allegro’s introduction, a monitory Adagio with the character of a herald to some mysterious ceremony. The spirit coloring the work derives from Figaro. The Andante is a bel canto aria of joy and tragedy. The closing Presto echoes the motifs of the opera. At the time of the symphony’s composition, the city of Prague thrummed with enthusiasm for the work that would become known as the “Prague” Symphony. Mozart’s happy relationship with the citizens of Prague wrote a joyful chapter in the sad story of his last few years. It was a time when Vienna was growing indifferent to both the man and his music, but Prague couldn’t get enough of either.
Mozart – Symphony No. 38 in D Major, K. 504 “Prague”
1. Adagio: Allegro
2. Andante
3. Finale Presto
1. Adagio: AllegroSymphony No. 39 is the least well known and seldom performed of Mozart’s final six symphonies. Despite its truly inspired themes and workmanship, we can only speculate about the reasons for its neglect. Perhaps its lack of a nickname to characterize it in the minds of concertgoers has been a hindrance. Perhaps the lean instrumentation doesn’t hold its own played on modern instruments. perhaps the flat key has a more muted sound in modern music halls. Be that as it may, it’s a warm and elegant piece of music-making. The opening Allegro is prefaced by a powerful slow Adagio introduction. The following Andante has a well developed stormy secondary theme, while the succeeding Minuet has an rustic gait suitable for dancing. The final Allegro is a dazzling display of contrapuntal magic.
Mozart – Symphony No. 39 in E-flat Major, K. 534
1. Adagio: Allegro
2. Adante con moto
3. Menuetto: Allegretto
4. Finale: Allegro
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