Jos van Immerseel, Octophoros - Mozart, Beethoven: Quintets (1985) CD-Rip
Artist: Jos van Immerseel, Octophoros
Title: Mozart, Beethoven: Quintets
Year Of Release: 1985
Label: Accent
Genre: Classical
Quality: FLAC (image+.cue,log,scans)
Total Time: 51:28
Total Size: 227 Mb
WebSite: Album Preview
Tracklist: Title: Mozart, Beethoven: Quintets
Year Of Release: 1985
Label: Accent
Genre: Classical
Quality: FLAC (image+.cue,log,scans)
Total Time: 51:28
Total Size: 227 Mb
WebSite: Album Preview
WOLFGANG AMADEUS MOZART (1756-1791)
Quintet in E-flat major, KV 452 (24'07")
for pianoforte, oboe, clarinet, horn and bassoon
1. Largo - Allegro moderato (10'16)
2. Larghetto (8'06")
3. Rondo. Allegretto (5'38")
LUDWIG VAN BEETHOVEN (1770-1827)
Quintet in E-flat major, opus 16 (27'04")
for pianoforte, oboe, clarinet, horn and bassoon
4. Grave - Allegro ma non troppo (13'22")
5. Andante cantabile (7'23")
6. Rondo. Allegro ma non troppo (6'09")
Performers:
Jos van Immerseel, pianoforte
(Albert and Chris Maene after Viennese models about 1790)
OCTOPHOROS
Paul Dombrecht, oboe after H. Grenser by O. Cottet
Elmar Schmid, clarinet in B, by R. Tutz
Piet Dombrecht, horn, Jahn, Paris (ca. 1820)
Danny Bond, bassoon, after H. Grenser by P. de Koningh
Authentic and authoritative, these 1985 recordings of Mozart and Beethoven's quintets for piano and winds have almost everything going for them. Performing on a pianoforte modeled on a 1790 Viennese instrument, Jos van Immerseel is an adroit player, while the quartet drawn from the period instrument wind band Octophoros -- Paul Dombrecht on oboe, Elmar Schmid on clarinet, Piet Dombrecht on horn, and Danny Bond on bassoon -- are likewise all skillful instrumentalists. But while their playing is beyond contention -- listen to their keen balances, their smooth ensemble, their unified rhythms -- their interpretations miss the one thing that defines these works: their sense of fun. Where are the high spirits of Mozart's quintet, the quick wit of its Allegro moderato and the saucy comedy of its Allegretto? Where is the broad humor of Beethoven's quintet, the pseudo-seriousness of its opening Grave and the rambunctious burlesque of its Allegro ma non troppo? They're not in these performances. Some might argue that the humor of Immerseel and the Octophoros four is more subtle and nuanced, and they may be right. But if Mozart's quintet doesn't make you smile and Beethoven's quintet doesn't make you laugh out loud, the performances may be too subtle and nuanced for their own good. Accent's early digital sound is perhaps too close and too solid to be entirely enjoyable.