HD-Vinyls 24/96 (DGG) Wolfgang Amadeus Mozart – Clarinet Concerto KV 622, Bassoon Concerto KV 191 (Böhm, Prinz, Zeman)


It was Mozart who demonstrated once and for all that the concerto could be just as weighty a medium as the symphony. It is a pity that his achievement was not heeded more comprehensively. I have often thought that the likes of Beethoven, Brahms et al would have been more-rounded figures if they had composed a concerto for woodwind. Imagine a bassoon concerto by the Master of Leviathans – Anton Bruckner. Richard Strauss, composer of the Alpine Symphony & Ein Heldenleben, showed that it could be done with his chaste contribution to the repertoire. Provided he dropped all the claptrap – no hammer-blows of fate or cowbells or portentous sub-texts – a clarinet concerto by Mahler would be a fascinating prospect.

Composer: Wolfgang Amadeus Mozart
Orchestra: Vienna Philarmonic Orchestra
Conductor: Karl Böhm
Vinyl 1974/84
Number of Discs: 1
Format: FLAC
Label: DGG
DR-Analysis: DR 13

Size: 977 MB

Scan: yes
Server: FF

Yes, I know: Vivaldi wrote thousands of such specimens; the ghost of Stravinsky can wade through them as penance. As always, it is the Salzburg Kid who leads the pack.
As Einstein astutely observed, K191 was written with immense love for this most endearing of instruments. If various authorities are credible, it was not his only offering in the domain (sadly, his two other concertos for bassoon have been lost to eternity). It cannot be an easy to compose such a work, what with the instrument’s lack of projection. How delicately Mozart allows it to shine. IF he pokes fun at its drollness in the heavenly slow movement, the instrument readily forgives him and presses on to the high spirits of the finale. The manuscript is missing so search your cupboards.

Little needs to be said of the Clarinet Concerto. Mozart’s sole contribution to the genre has acted like pesticide on the competition; what other clarinet concerto comes anywhere near it? Moreover, is it valedictory in its marrow? I don’t know. What if Mozart had lived another thirty years after its composition – what a thought: how would we regard it? Much like the Oboe Concerto, a work to revel in, without any intimations of mortality?
Place Uncle Karl in front on the Vienna Philharmonic in the last decade of this life and the results can be lethal (to wit, his survey of Mozart’s late symphonies or his second recording of K 297b). Happily, the opposite is the case here.

These Mozart concertos are alertly and stylishly played. Bohm thankfully keeps his foot off the brake. None of the soloists, being principals of Vienna Philharmonic, is world-famous virtuosos but how musical they are. The traditional edition of the Clarinet Concerto is in use.
All in all, this is a winner. Well done Uncle Karl!

 

Tracklist

  Konzert Für Klarinette Und Orchester A-dur, KV 622  
A1 1. Allegro 12:47
A2 2. Adagio 8:02
A3 3. Rondo. Allegro 9:26
  Konzert Für Fagott Und Orchester B-dur, KV 191  
B1 1. Allegro 7:04
B2 2. Andante Ma Adagio 7:34
B3 3. Rondo. Tempo Di Menuetto 4:18

 

———————————————————————————————-
Analyzed Folder: /96k WAM – Clarinet Concerto KV 622, Bassoon Concerto KV 191 – Boehm_dr.txt
———————————————————————————————-
DR Peak RMS Filename
———————————————————————————————-
DR14 -0.19 dB -19.71 dB A1 Concerto For Clarinet In A Major, K. 622 – 1. Allegro.flac
DR12 -2.37 dB -21.57 dB A2 Concerto For Clarinet In A Major, K. 622 – 2. Adagio.flac
DR14 -1.02 dB -20.71 dB A3 Concerto For Clarinet In A Major, K. 622 – 3. Rondo. Allegro.flac
DR13 -0.24 dB -18.04 dB B1 Concerto For Bassoon And Orchestra In B Flat Major, K. 191 – 1. Allegro.flac
DR12 -1.25 dB -18.29 dB B2 Concerto For Bassoon And Orchestra In B Flat Major, K. 191 – 2. Andante Ma Adagio.flac
DR11 -0.72 dB -15.71 dB B3 Concerto For Bassoon And Orchestra In B Flat Major, K. 191 – 3. Rondo. Tempo Di Menuetto.flac

———————————————————————————————-
Number of Files: 6
Official DR Value: DR13
==============================================================================================

 

Ripping Info

Monitoring

A few words about the way i’ve been cleaning vinyl records and post-processing rips, since summer 2017: After washing and recording the vinyl, I use a kind of mixed cleaning of the rip, which consists of mostly manual rather than automatic de-clicking, (the latter only on unimportant passages, such as end of the groove, beginning and end of the songs, applause, speaking). I often leave the rips almost rough, de-clicking only the silences between the tracks. Never de-noising or/and EQ, as unfortunately some do. I prefer to hear a bit of quiet noises of the clean groove, that contain something of the music, rather than generate clinically clean files that may, eventually, sound a bit dead. If you do not agree, do not download my rips and buy instead digital files or CDs.
When I listen to music I “don’t hear” any noise: I enjoy the music 😀
I do not make rips for headphones!

  • Software: iZotope RX 5 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.18
  • Very careful de-clicking with iZotope, significant clicks manually removed, never de-noising
  • DR-Analisys
  • Wave 32/192(32/384) —> Flac 24/96 & 24/192: Twisted Wave 1.18
  • Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5

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