This symphony is the first segment of the famous symphonic triptych composed by Mozart in the summer of 1788. Although we do not know exactly why Mozart wrote these three symphonic masterpieces at that time, it is assumed that they were intended for a series of concerts in Vienna. Despite his waning popularity in Vienna and his desperate financial situation, Mozart succeeded in forgetting his daily concerns and created a masterpiece of good spirits and self-confidence. The stately introduction leads into a graceful, urbane theme that seems to flow without effort. But a highlight of this work is the Trio of the Minuet, a pastoral Ländler for woodwinds that contrasts strikingly with the pounding energy of the Minuet. A musician’s musician, an occasional firebrand and a constant paradox – Nikolaus Harnoncourt (born in 1929) is one of the most profound and intriguing conductors of our time. Considered one of the world’s leading specialists of Baroque music, he has long since turned his attention to Mozart, Beethoven, Schubert, and even to Jacques Offenbach and Johann Strauss. He spent many years as a cellist with the Wiener Symphoniker before founding the “Concentus Musicus Wien” with his wife Alice in 1953. It soon became one of the world’s most respected ensembles specializing in the performance of early music on original instruments. In the 1970s, Harnoncourt joined forces with Jean-Pierre Ponnelle to stage a series of Monteverdi operas at the Zurich Opera House. This universally acclaimed cycle contributed to a renaissance of Monteverdi’s music and set standards for early Baroque performance practice. Harnoncourt later began to turn his attention more and more to the music of Mozart, whom he considers “the most romantic of all composers”. His concept of Mozart’s music ran counter to the prevailing 20th-century views, however. He sees Mozart’s music as “dramatic, dynamic, often directly and highly emotional.” The Vienna Philharmonic, known for its suave and gracious Mozartian interpretations, initially rebelled against Harnoncourt’s unconventional approach. Yet the compellingness of his vision soon came to be accepted and shared by all members of the orchestra. In this recording, Harnoncourt conducts the Chamber Orchestra of Europe.

Mozart’s last symphony is a solemn and formal work which looks back to the past more than its two fellow works K. 504 and 550. It contains strong reminiscences of Baroque forms like the fugue and the concerto grosso (e.g. in the opposition of clear-cut themes and the interplay of solo and tutti groups). Particularly the last movement is one of the most impressive in symphonic literature because of its unique blend of melodic flow and “scholarly” fugal treatment. Although not truly a fugue, the movement incorporates some exciting imitative work. The theme was well known and often used in the 18th century. Mozart himself used it in two of his masses and in the Symphony K. 319. The “Jupiter” Symphony, a truly Olympian work, must be viewed together with the two preceding symphonies as Mozart’s final word in a genre he raised to heights never before attained. Nikolaus Harnoncourt (born in 1929) is one of the most profound and intriguing conductors of our time. Considered one of the world’s leading specialists of Baroque music, he has long since turned his attention to Mozart, Beethoven, Schubert, and even to Jacques Offenbach and Johann Strauss. He spent many years as a cellist with the Wiener Symphoniker before founding the “Concentus Musicus Wien” with his wife Alice in 1953. It soon became one of the world’s most respected ensembles specializing in the performance of early music on original instruments. In the 1970s, Harnoncourt joined forces with Jean-Pierre Ponnelle to stage a series of Monteverdi operas at the Zurich Opera House. This universally acclaimed cycle contributed to a renaissance of Monteverdi’s music and set standards for early Baroque performance practice. Harnoncourt later began to turn his attention more and more to the music of Mozart, whom he considers “the most romantic of all composers”. His concept of Mozart’s music ran counter to the prevailing 20th-century views, however. He sees Mozart’s music as “dramatic, dynamic, often directly and highly emotional.” The Vienna Philharmonic, known for its suave and gracious Mozartian interpretations, initially rebelled against Harnoncourt’s unconventional approach. Yet the compellingness of his vision soon came to be accepted and shared by all members of the orchestra. In this recording, Harnoncourt conducts the Chamber Orchestra of Europe.

The G minor Symphony is undoubtedly Mozart’s most popular work in this genre. What makes it so exciting to us – and what endeared this work to 19th-century audiences – ar its relentless passion and Romantic tension. The very first bars set the scene: above a nervous, pulsating viola accompaniment enters an equally agitated principal theme. There is nothing spectacular here, and yet the “piano” beginning – unusual for an 18th-century symphony – and the insistent rhythm are nothing less than gripping. The mastery with which Mozart then contrapuntally exploits the opening theme is simply bgreathtaking – particularly in the development section, which darts out into the most distant keys. After the profoundly touching Andante and uncompromising Minuet, the fiery Allegro assai, with its extravagant modulations in the development section, provides a worthy counterpart to the first movement. Nikolaus Harnoncourt (born in 1929) is one of the most profound and intriguing conductors of our time. Considered one of the world’s leading specialists of Baroque music, he has long since turned his attention to Mozart, Beethoven, Schubert, and even to Jacques Offenbach and Johann Strauss. He spent many years as a cellist with the Wiener Symphoniker before founding the “Concentus Musicus Wien” with his wife Alice in 1953. It soon became one of the world’s most respected ensembles specializing in the performance of early music on original instruments. In the 1970s, Harnoncourt joined forces with Jean-Pierre Ponnelle to stage a series of Monteverdi operas at the Zurich Opera House. This universally acclaimed cycle contributed to a renaissance of Monteverdi’s music and set standards for early Baroque performance practice. Harnoncourt later began to turn his attention more and more to the music of Mozart, whom he considers “the most romantic of all composers”. His concept of Mozart’s music ran counter to the prevailing 20th-century views, however. He sees Mozart’s music as “dramatic, dynamic, often directly and highly emotional.” The Vienna Philharmonic, known for its suave and gracious Mozartian interpretations, initially rebelled against Harnoncourt’s unconventional approach. Yet the compellingness of his vision soon came to be accepted and shared by all members of the orchestra. In this recording, Harnoncourt conducts the Chamber Orchestra of Europe.