A heavy snowfall, bitter winds, and icy sidewalks failed to deter an enthusiastic audience from nearly filling the Morgan Library’s Gilder Lehrman Hall on January 21, when the Boston Early Music Society continued their New York series with a concert by the London Haydn Quartet with Eric Hoeprich, the great historically informed clarinettist and instrument-maker, who were offering a program of Haydn, Beethoven, and Mozart. The bare white basement space that serves as the lobby of the hall is hardly the most attractive part of one of New York’s most elegant institutions, but its heating was welcome enough, and once one enters the auditorium, one can enjoy some warmth of design and acoustics as well.
The primary occasion for this writing was Emmanuel Music's fine performance of Mozart's last opera, La Clemenza di Tito, under Music Director Ryan Turner. However, two extraordinary recordings of works Mozart composed during those busy final months of his life have appeared, as downloads from Pristine Classics, and they are not only magnificent in themselves, but they provide an enlightening context for this somewhat elusive opera seria. These recordings are of the legendary 1951 Salzburg performance of Die Zauberflöte under Wilhelm Furtwängler in the spectacularly improved sound we have come to expect from Andrew Rose, and a magnificent studio recording of the Requiem under Sir Thomas Beecham from 1954-56.