More of the Music of Mozart

• You’ll find lush, sweet and rich Double Plus (A++) sound or BETTER throughout this early London pressing of these famed compositions
• Both sides of this pressing of CS-6379 are open, high-rez, and spacious, with depth like you will not believe and some of the least shrill string reproduction we have ever heard for this music
• Clear and transparent and natural – your ability to suspend disbelief requires practically no effort at all

This vintage London pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.

What The Best Sides Of Mozart’s Clarinet Quintet K. 581 and Divertimento In F K. 247 Have To Offer Is Not Hard To Hear

• The biggest, most immediate staging in the largest acoustic space
• The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1964
• Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
• Natural tonality in the midrange — with all the instruments having the correct timbre
• Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

Copies with rich lower mids and nice extension up top did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record. We know, we’ve heard them all.

Top end extension is critical to the sound of the best copies. Lots of old records (and new ones) have no real top end; consequently, the studio or stage will be missing much of its natural air and space, and instruments will lack their full complement of harmonic information.

Tube smear is common to most vintage pressings. The copies that tend to do the best in a shootout will have the least (or none), yet are full-bodied, tubey and rich.

Size and Space

One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.

And most of the time those very special pressings are just plain more involving. When you hear a copy that does all that — a copy like this one — it’s an entirely different listening experience.

What We’re Listening For On Clarinet Quintet K. 581 and Divertimento In F K. 247

• Energy for starters. What could be more important than the life of the music?
• The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
• Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
• Powerful bass — which ties in with good transient information, also the issue of frequency extension further down.
• Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
• Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

TRACK LISTING

Side One

Clarinet Quintet

Allegro
Larghetto
Menuetto – Trio 1 – Trio 2
Allegretto

Side Two

Divertimento In F For String Quintet And 2 Horns

Allegro
Andante Grazioso
Menuetto
Adagio
Menuetto
Andante – Allegro Assai

Clarinet Quintet (Mozart)

It is Mozart’s only completed clarinet quintet and is one of the earliest and best-known works that was written especially for the instrument. It remains to this day one of the most admired of the composer’s works.

The work consists of the following four movements and, with the intended repetitions, has a duration of between 31 and 38 minutes, usually approximately 35 minutes.

I. Allegro

The first movement sets the mood for the entire piece. Stephen Rumph points out that the contrast between the hymn-like harmonies of the strings’ opening and the brilliant style of the clarinet’s first entry, which punctuates the two halves of the strings’ theme. Much of the movement’s musical interest derives from the balance between these two extremes.

II. Larghetto

The second movement opens with a six-bar transition in place of a central development section, which opposes a first section consisting mostly of a clarinet melody over muted strings against a second group of themes in which – as in the first movement – several upward runs of scales are given to the first violin, alternating with brief phrases of clarinet melody. These scales are given to the clarinet in the recapitulation (bar 51). In the last few bars of the movement, more chromatic than the rest, the scales turn into triplet arpeggios traded between the strings under the closing clarinet phrases.

III. Menuetto

The third movement consists of a minuet and, unusually, two trios. The first trio is for the strings alone, with a theme that has a signature acciaccatura every few notes. The second trio is a clarinet solo over the strings, whereas in the minuet the roles are distributed more evenly.

IV. Allegretto con variazioni

The finale is in variation form, unexpectedly substituting for the more conventional rondo. There are five variations. The theme is in two repeated halves, with the clarinet joining in, but only for a few of its bars. As often with Mozart, phrase structure is generally the same throughout the variations even if other qualities change – the theme consists of four four-bar phrases (Mozart is often more irregular in his phrasing than this), the first going harmonically from A to E, the second back from E to A, etc. and likewise with the variations.

The first of its variations gives the clarinet a new theme, in counterpoint with the theme of the variations divided amongst the quartet. The second alternates phrases for quartet only with phrases for full quintet, the latter answering the former. The third, in A minor, also begins without clarinet. It features a viola melody – also with signature acciaccatura – sometimes described as sobbing. The clarinet joins in to finish. The major mode returns for the fourth variation, as does the main theme to the accompaniment of semiquaver virtuosity – given to the clarinet only in the first repeated half, first violin and clarinet in the second. There are four bars of dramatic interruption leading to a pause; the next variation is a lyrical Adagio. A transition leads to an Allegro coda, containing much of a variation itself.

-Wikipedia