GEORG JOSEPH (ABBÉ) VOGLER (1749–1814) SYMPHONIES, OVERTURES, BALLETS London Mozart Players / Matthias Bamert Chandos, CHAN 10504, 2009; one disc, 67 minutes

Abstract

beginnings and endings of chords and phrases often a little ragged. This unfortunate tendency somewhat mars a particularly beautiful moment in the Adagio of the Partita Op. 78. Rhythm is occasionally also something of a problem, particularly in the linking passages of the first clarinet, and this is often combined with a somewhat unpolished technique. This is particularly noticeable in the last movement of Op. 78, in which the virtuoso clarinet passages seem just on the edge of Christian Leitherer's technical capabilities. Generally both the oboe and clarinet soloists seem more comfortable in the upper registers, which shine over the top of the ensemble with a pleasant clarity; in lower passages their tone can be a little spread and lacklustre. The slight vibrato occasionally employed in the clarinet line will not be to the taste of all listeners. Intonation is generally stable, but there are some slight problems between the first and second clarinet in octave passages, and some of the ensemble unisons are not quite pure in the upper voices. Intonation is one of the great challenges of playing in an ensemble of this kind, and it is hardly surprising to hear discrepancies even in the very best of ensembles. There is no doubt that Krommer made the first oboe and first clarinet the leading instruments in these Partitas, but every now and then he gives the bassoon a wonderfully virtuosic solo. When this lies in the upper register of the instrument, it carries through the ensemble well, but it can sometimes become a little lost in the accompanying voices as the line descends. This seems to be a result of the accompanying lines not giving the bassoon soloist enough space rather than the bassoon's failure to project. At seventy-two minutes, the CD is one of the longer recordings of Harmoniemusik currently available. Although the addition of a trumpet in Op. 83 provides some variation in the texture, it does occasionally feel a little long with no variation in texture, colour or repertory. Those interested in organological details will also be disappointed that the liner notes by Bernhard Blattmann (given in French, German and English) do not contain any information on the instruments used for the recording. For the wind music enthusiast, this will be a welcome addition to a CD collection, as it explores repertory that has not had much exposure and is performed by an ensemble which pursues it with enthusiasm and dedication. For those yet unacquainted with the genre of Harmoniemusik, this recording will provide a pleasant introduction. melanie piddocke