These performances of Mozart’s last three symphonies represent just about the best we can expect from the school of “historically informed performance,” which is to say that they are extremely fine indeed. There are a couple of questionably fast tempos, such as the opening movement of the G minor Symphony, but then Mackerras was just as speedy, and even most fans of the period approach will be delighted to learn that Jos van Immerseel does not take every bloody repeat in the slow movements, a practice that almost always assures a healthy dose of tedium. In fact, under Immerseel the slow movements of all three symphonies (but that of the Jupiter Symphony especially) really sing and never lapse into static meandering.
Internal balances also serve the music well. Perky woodwinds characterize the finale of Symphony No. 39, while the Jupiter’s finale has plenty of contrapuntal clarity as well as good, firm presence from the trumpets and drums. Immerseel also manages to get the minuets to swing along with buoyant rhythms and zesty accents (particularly that in Symphony No. 39). In his hands, the music lives and breathes as it must, even given some of those breakneck tempos. As for the Bassoon Concerto, hardly one of Mozart’s more involving or important works, soloist Jane Gower’s appealingly fruity tone offers more than the usual amount of color and charm. It’s never dull, which is quite a compliment. Excellent (if perhaps a touch too forward) recorded sound rounds out a production that by any measure counts as a complete success. If you’re looking for stylish period instrument Mozart, you can’t go wrong here.
