For this SACD small segments of Joannes Chrysostomus Wolfangus Theophilus Mozart’s (1756-1791) latest operas (five) were arranged by Andreas N. Tarkmann (b. 1956) for a wind instruments ensemble (sextet and/or octet) consisting of oboes, flutes, clarinets, bassoons and one double bass. Artistically speaking Tarkmann is respectful of, but not at all intimidated by Mozart’s original material (instrumental and/or vocal) and boldly treats the chosen themes. In the process he downsizes the scale of the work and at the same time re-imagines the original full-scale orchestra with just a few instruments.
These arrangements (18 in total) result in music of great purity, directness and concision with strict respect for the wonderful musical architecture of the many-layered original compositions. The end result is a richly-layered sound, still preserving the original dignity of the rhythms and melodies if not necessarily the harmony. The tonalities of these short but affecting pieces are in constant if gentle flux, focusing the attention more on the outer voices of the ensemble with harmony seldom sharing the main focus due to the obvious economy of the scoring.
For example, the dignified serenity and the huge and difficult portamentos of the Aria Un aura amorosa from Cossi fan tutte (track 3) is easily emulated by the ensemble in a part that in its original form is a nightmare for most tenors. Incidentally, the only tenor I ever heard doing these portamentos well (actually to perfection) was the late Alfredo Krauss and in this recording the woodwinds glide or slide (the portamentos) from one pitch to another effortlessly and effectively.
At the same time this type of music can not achieve (theoretically) a full sounding forte without forcing the sound and/or compromising the colors of the music, for example, as in the Overture (track 4) and the aria Ah signor – per carita (track 7) from Don Giovanni. The fortes are played here by the oboes (not the loudest instrument) which relegate the French horns (the loudest) to almost nothing. Still, the harrowing anguish present in these two segments is fully conveyed with enough sound volume within the limiting musical structure of the arrangement.
We do not find much sound dynamics in this SACD but rather the contrary – the sound is clear although flat and dry with good instrumental placing in the front speakers. However, the sound from the rear speakers does not compensate for the lack of ambience, and hall acoustics are just about non-existent, giving the feeling more of a three-channel stereo than a full multichannel recording. My opinion: this is a good and interesting recording but no more than that.
— John Nemaric
