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Mozart’s last symphonies still represent a veritable miracle for scholars, performers and concert audiences. The occasion on which they were written has ultimately remained unknown, as has whether Mozart himself ever heard them during his lifetime. One thing is certain: Mozart created three individual, unmistakable, absolutely unique works here, which complement each other despite their independence. Above all, it is the Symphonies in E-flat Major, K. 543 (No. 39), G Minor, K. 550 (No. 40), and C Major, K. 551 (No. 41), which was honored with the nickname “Jupiter,” with which Mozart manifested his legacy in the symphonic field for generations of musicians. With its slow introduction, the E-flat major symphony simultaneously opens the entire cycle and already gives the listener an inkling of its highs and lows. Already around 1800, the popular “great” G minor symphony was praised as the “painting of a passionately moved soul”. Like its equally big sister, the “Jupiter” Symphony in C major, it is today one of the most frequently performed works of classical music and has already been immortalized in countless recordings. Nevertheless, these symphonies, probably the most profound before Beethoven, reveal themselves anew in every single interpretation. “Mozart brought all the dark sides of human existence into the G minor symphony,” says Herbert Blomstedt, who is still captivated by the “passionate nature” of the masterpiece. The eminent Swedish conductor Herbert Blomstedt, who is closely associated with the Bavarian Radio Symphony Orchestra as a regular guest conductor, conducted the Symphony in E-flat Major in concerts on December 18 and 19, 2019 at the Philharmonie of the Munich Gasteig, the Symphony in G Minor on January 31 and February 1, 2013 and the “Jupiter” Symphony on December 21 and 22, 2017 at the Herkulessaal of the Munich Residenz. The new 2-CD set from BR Klassik presents the magnificent keystones of Mozart’s symphonic output in the best recording sound quality. |
