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.
One doesn’t often encounter all-Mendelssohn programs. If I were to find one in the Tanglewood season, I’d suspect it was a somewhat excessive gesture towards the more conservative members of the audience. On the other hand, from the Scottish Chamber Orchestra and Frans Brüggen, who has maintained a long-term relationship with the orchestra over the years, it meant a fresh look at three important works by a towering figure in nineteenth century music. Our view of Mendelssohn is still colored by the popular conception of him as a genial, highly privileged composer of tuneful works, who sadly died at the young age of thirty-eight. In truth, he was, both as a composer and a conductor, an extremely influential leader in the highly theoretical and factionalized world of Romantic music, the central figure in the more conservative, “classizing” group based in Leipzig.