(…) The last position in the program (after the intermission) was Mozart’s Symphony No.40 in G minor, K.550, in its first version (without clarinets), preceded by some explanations (in English) by the conductor. Sir Roger Norrington first alluded to numeric relations between the two symphonies (No.4 vs. No.40 — second vs. second-to-last symphony), then referred to the fact that K.550 is overused, known too well even, and played in warehouses and escalators…
… Right from the beginning of the first movement (Allegro vivace) one could sense and enjoy Norrington’s very detailed dynamics, the clear contrasts, very careful phrasing and articulation, down to individual ornaments — and the joyful playing in general. (…) It was a fascinating concert experience, and a strong, very convincing, compelling interpretation, both on the part of the conductor as well as the orchestra!
Mozart: Symphony in G minor, K.550 — comparing recordings with the following artists: Christopher Hogwood, The Academy of Ancient Music (1983) / Jaap ter Linden, Mozart Akademie Amsterdam (2002)
Mozart: Symphony in D, K.19 — comparing recordings with the following artists: Christopher Hogwood, The Academy of Ancient Music (1982) / Jaap ter Linden, Mozart Akademie Amsterdam (2001)