NDR-Sinfonieorchester, Günter Wand - Beethoven - Symphonie Nr.4 Mozart - Posthornserende K.320 (2001)
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NDR-Sinfonieorchester, Günter Wand - Beethoven - Symphonie Nr.4 Mozart - Posthornserende K.320 (2001)

Artist: NDR-Sinfonieorchester, Günter Wand
Title: Beethoven - Symphonie Nr.4 / Mozart - Posthornserende K.320
Year Of Release: 2001
Label: RCA
Genre: Classical
Quality: FLAC (image+.cue)
Total Time: 75:01
Total Size: 342 Mb
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Tracklist:
[01] Mozart - Posthornserenade K.320: I. Adagio maestoso
[02] II. Menuetto. Allegretto - Trio
[03] III. Concertante. Andante grazioso
[04] IV. Rondeau. Allegro ma non troppo
[05] V. Andantino
[06] VI. Menuetto - Trio I/II
[07] VII. Finale. Presto
[08] Beethoven - Symphonie Nr.4: I. Adagio - Allegro vivace
[09] II. Adagio
[10] III. Allegro vivace
[11] IV. Allegro ma non troppo
Performers:
Jeroen Berwaerts - posthorn
NDR-Sinfonieorchester - Günter Wand
In 2001, when Gunter Wand was an astonishing 89, he led this live concert from Hamburg with his home orchestra, the North German Radio. Wand was a benign (so far as I know) conservative like Josef Krips, happy if his wrld was circumscribed by Mozart, Beethoven, Schubert, and Bruckner, who remained the taples of his repertoire.
A lifelong devotion to Mozart shows through in this genial, quick-moving, sunny reading of the "posthorn" Serenade. The posthorn soloist is fine, the first oboe a bit less so, but everyone's in high spirits. There's not a hint of dullness anywhere, making Wand's one of the best versions outside the period-performance litany. Smiles all around.
The Beethoven Fourth is a graceful disc-mate, and it, too, feels very genial and light. The Adagio opening (its mood and harmony straight out of Fidelio) moves fairly briskly, giving way to a medium pace in the Allegro that offers little contrast, but in place of drama we get an assured touch. The slow movement is flowing and lyrical, the Scherzo lively if not quite the Allegro vivace Beethoven calls for. The composer doesn't want the Finale to be too fast, and Wand complies. Yet throughout there's a feeling of affection and good humor. In an ideal performance one would want more sharp contrasts and not quite so much mezzo forte, but this Fourth is very apealing.
When the Gramophone, one of Wand's biggest champtions, described him as "one of the last surviving examples of the well-schooled German Kapellmeister," they meant it as a compliment. This autumnal CD shows that the compliment was well deserved.
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