5/5 Zinman is fabulous.
  by Irvin Grossack (Bloomington, Indiana, USA)
Probably the best Mozart symphony. Beautifully done. Zinman shows his love for the piece, although perhaps not everybody will appreciate his mannerisms.

4/5 Two Different Orchestras Under the Same Name
  by J Scott Morrison (Middlebury VT, USA)
This DVD of the Deutsche Kammerphilharmonie (German Chamber Symphony) features not only two different conductors leading two different Mozart symphonies in two different halls, it also features two virtually different orchestras of that name. Although both were recorded in 1991, it is clear from even a cursory look that the personnel of the orchestra had changed dramatically between the two recording dates. Perhaps this is because the Kammerphilharmonie is a young orchestra--most of the players look to be in their twenties--that grew out of the Junge Deutsche Philharmonie (Young German Philharmonic), or rather changed its name in 1987 to the current title. And it may indeed be that drastically changing personnel is part of the tradition with the group, I simply don't know. But I do know that the orchestra that plays under Zinman is the better sounding of the two. It doesn't help that the acoustic of the hall for the first of these two symphonies, the 'Prague' Symphony, K. 504, recorded in the Christian Zaiss Saal in Wiesbaden under Gerd Albrecht has a too-bright sound. It is further not helped that the winds, brass and hard-sticked timpani seem to be at the sonic forefront. Thus, the overall impression is of a group playing too all-out, too crudely. Difficulties in ensemble and blend are too often obvious. Still, Albrecht's approach is crisp and alert, although his extremely vigorous arm-waving (he uses no baton) is distracting and sometimes he seems to just be beating time. Things are much better in the second movement with its tacet trumpets and timps.

When Zinman takes over (in the Sophiensaal in Munich) things are better. First, the sound is rounder, fuller and, I suspect, truer. The string blend is more homogeneous, the oboes are distinct without being harsh, and the timps are a good bit less jarring. Zinman also uses no baton, but he shapes the sound more subtly and with a good deal less arm-flapping. And one can hear the difference; phrasing is more nuanced, ensemble is better. He seems in better control of his forces and seems to have more definite ideas of what he wants; for instance, he manages the tricky tempo transition from the slow introduction of the first movement into its main allegro section with seamless grace. The Andante con moto second movement is serenely beautiful; the allegretto Minuet (one of Mozart's best) with its bumptious wind chords calls up dancing peasants in one's mind's eye (perhaps it's really a Ländler after all). The allegro Finale shows both finesse and energy. This is an inspiriting traversal of the E flat symphony, one of the three last great symphonies that Mozart composed in that miracle summer of 1788.

TT=60 mins; subtitles in English, German, French, Spanish; PCM stereo

Scott Morrison