«HELE LANDETS ORKESTER» MØTER MOZART

Denne utgivelsen er den første av to CD-er hvor Kringkastingsorkestret med sjefdirigent tolker W.A. Mozarts symfonier.

Siden starten av Petr Popelkas periode som sjefdirigent, har samarbeidet mellom ham og Kringkastingsorkestret slått gnister. Popelka har en egen evne til å gå entusiastisk inn i alle typer musikk, fra den klassiske kanon til samtidsmusikk og urfremføringer. Entusiasmen går også inn i arbeidet med de minste detaljer, viktige for å få en tolkning til å skille seg ut i mengden. Ikke minst gjelder dette når det kommer til Mozart, som ikke kan sies å være underrepresentert på platemarkedet. Likevel, når Petr Popelka først bestemmer seg for å gå løs på Mozart med «hele landets orkester», er det grunn til å spisse ørene. 

Popelka og KORK tar for seg to av de seneste symfoniene, nr. 39 og 40. Mozart skrev sine tre siste symfonier (39-41) i en hektisk periode sommeren 1788. Skrevet flere år før Beethoven nådde sine symfoniske høyder, er det en til da uhørt symfonisk tyngde i Wolfgangs symfoniske avslutning. Selv om det ikke alltid er så lett å knytte musikken til konkrete hendelser i Mozarts liv, er det likevel som han i større grad har noe på hjertet. Ikke minst gjelder det den ikoniske Symfoni nr. 40, et av de få stykkene Mozart skrev i en molltoneart. Da er det som regel alvor. Den pulserende melodien i starten kjenner «alle», og Mozart er fortsatt en av våre mest innspilte komponister. Kan det være plass til enda en tolkning? Når Norges mest rytmiske og sjanger-fleksible orkester møter en tsjekkisk mesterdirigent, mener vi absolutt det!

“THE WHOLE LAND’S ORCHESTRA” MEETS MOZART

This release is the first of two CDs on which the Norwegian Radio Orchestra (KORK) with chief conductor Petr Popelka interprets symphonies of W.A. Mozart.

Theirs has been a scintillating collaboration ever since the beginning of Popelka’s tenure as the orchestra’s principal conductor. Popelka has a special gift for immersing himself enthusiastically in all kinds of music, from the classical canon to contemporary music and premiere performances. This enthusiasm also manifests itself in his focus on the most minute details, so important if an interpretation is to stand out from the rest. This is especially the case with Mozart, who can hardly be said to be underrepresented in the recording market. Thus, when Petr Popelka first decides to launch into Mozart with “the whole land’s orchestra”, there is every reason to prick up one’s ears.

Popelka and KORK turn to two of the last symphonies, no. 39 and 40. Mozart wrote his last three symphonies (39-41) during a hectic period in the summer of 1788. Written a number of years before Beethoven attained his symphonic heights, there is an as yet unprecedented symphonic gravity in Mozart’s final symphonies. Although it is not always easy to connect the music to concrete events in Mozart’s life, he seems nevertheless to have something of consequence on his mind — in particular with regard to the iconic Symphony no. 40, one of the few pieces Mozart wrote in a minor key. This usually means it’s serious. “Everyone” knows the pulsating melody at the beginning, and Mozart remains one of our most recorded composers. So is there really room for yet another interpretation? When Norway’s most rhythmic and genre-flexible orchestra meets a Czech master conductor, we say, yes, absolutely!

REVIEWS/ANMELDELSER:

“There’s a lot to this performance!”  Radio France 

"The now 37-year-old Czech Petr Popelka, principal conductor of the Vienna Symphony Orchestra, was in the same position with the Norwegian Radio Orchestra when he recorded these Mozart symphonies. Now, a new recording of Symphonies Nos. 39 and 40 is not necessarily what one would have painfully waited for. But Popelka puts such an individual stamp on the 39th Symphony in particular that we decided to feature this album. He begins the 39th Symphony briskly and freshly, with a very bright and clear sound, so that the music appeals immediately. The rhetorically formulated Andante of moto also commands the listener’s attention. The last two movements are very lively and sparkle with original ideas for arrangement. It all seems so spontaneous that it is a pure joy. Popelka conducts the first movement of the 40th Symphony very briskly. The Andante is alive with fine momentum, the Minuet is vital and fluid. The finale sounds very dance-like and at the same time rich in contrast. Overall, this interpretation is less characteristic than that of the 39th Symphony." Remy Franck, pizzicato.lu, 22.09.2023

"it is a relevant testimony of a conductor whose notoriety can only continue to grow." "Throughout this disc, we discover diligent musicians, systematically up-to-date" "Symphony No. 39 is a great success with this mixture of controlled generosity and tone. From the first measures, the ear is attracted by this accuracy of tone and the beautiful balance between the sections" Crescendo, 23.10.23