Review: Mozart - Symphonies - Tarmo Peltokoski (2024)

Tarmo Peltokoski became Principal Guest Conductor of the Deutsche Kammerphilharmonie Bremen in January 2022, the first conductor to hold this position in the ensemble’s 42-year history. He is the Artistic Director of the Latvian National Symphony Orchestra, and this fall becomes the Music Director of the Orchestre National du Capitole de Toulouse.

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The opening movement of the Haffner Symphony (No. 35) is played at a very fast tempo – even the gifted Bremen strings sometimes struggle to clearly articulate their lines. Orchestral balance is excellent, ensuring we hear lots of inner detail. It is an impressive reading, save for the timpanist’s added flourishes (unmarked crescendos/accented attacks), which are enjoyable at first but soon become distracting.

The inner movements are thoroughly satisfying, featuring playing of sensitivity and refinement. Woodwinds and strings ornament repeated sections – Musicological studies confirmed this was a common performance practice at the time, but I cannot recall another performance embracing the idea so consistently. While some may find it overdone, it had me smiling throughout, as I waited to hear when and what the next ornament might be. Peltokoski sets an ideal tempo for the Finale and the timpani adds fewer embellishments – the Coda is particularly thrilling. There is an undeniable chemistry between the conductor and the orchestra.

While I anticipated a faster tempo for the opening movement of No. 40, there is more than enough energy, strings digging into their lines, and characterful woodwinds well to the fore. The brass’ distinctive colors add a powerful presence that never dominates the texture.

The slow movement is beautifully shaped (fast enough to feel two beats in a bar), and Mozart’s lyricism is fully realized. I was also impressed that Peltokoski recognizes not every accent has the same volume and sharpness of attack, a subtlety some period-informed performances never realize.

The Minuet is energetic but elegant. In the trio, the orchestra again adds embellishments, and Peltokoski sets a slower tempo; He does so in all three symphonies, as did Harnoncourt, though the latter’s changes are more drastic. The Finale is brilliantly dispatched, its dark mood sustained right through the final bars.

Symphony No. 36’s (Linz) ‘Adagio’ opening is suitably imposing, answered by a rambunctious Allegro, in which the woodwind choir work is exemplary. The slow movement marked “Un Poco Adagio Andante Con Motor” leans more towards Andante than Adagio, but has a lovely lilt, even if Mackerras (Scottish Chamber Orchestra/Linn) finds a deeper strain of tenderness.

Peltokoski does not observe the repeat of the second half (as Mackerras and many other period performances do) nor does he observe all repeats when the Minuet returns after the Trio. This is an odd choice for a performance in which the orchestra is adding embellishments. The fiery and dramatic Finale offers superb playing from all sections of the orchestra.

Listeners purchasing the digital edition receive a bonus of three improvisations by Peltokoski, who is also a virtuoso pianist. Using thematic materials from each symphony (as well as The Magic Flute) they are interesting and technically impressive, surely thrilling at an after-concert dinner party, but not music I imagine returning to. Their placement and timing within the program are questionable: the first begins too soon after Haffner’s completion, and the final improvisation ends with an arpeggiated dominant chord that leads directly into the Linz symphony.

In short, boldly conceived interpretations highlighting the beginnings of a promising new partnership – I look forward to their next recording.