This release functions more as a showcase for the assorted soloists’ talents than a presentation of Mozart’s music. The artists in question give highly accomplished and generally fine performances. Emmanuel Pahaud’s warmly soothing flute tone blends well with his gentle virtuosity in the Flute Concerto No. 1, and he is ideally partnered with Marie-Pierre Langlamet in the Flute and Harp Concerto. Sabine Meyer shows considerable imagination in her rendition of the Clarinet Concerto, especially in the beautiful, deeply felt adagio. The same cannot be said for Claudio Abbado’s conducting. Unlike Beecham, whose slow and languorous approach I commented on in a recent review, Abbado doesn’t endeavor to make beautiful and expressive sounds with his orchestra. Where the music caresses under Beecham, it just lies there with Abbado. His detached approach makes for uniformly colorless performances, and despite the excellent solo work, you won’t find yourself looking forward to playing this disc again. No, I’m not partial to lush and luxurious Mozart. Tight-reined George Szell generates far more excitement as well. Could it be that EMI’s recording, made in the cavernous Philharmonie, robs the orchestra of its impact? Possible. But in any event, this one’s strictly for the waiting room.
