{"id":39589,"date":"2024-02-29T19:57:14","date_gmt":"2024-02-29T18:57:14","guid":{"rendered":"http:\/\/166cd703-b0d7-45fc-88aa-bfab9fc19ae6"},"modified":"2024-02-29T22:41:10","modified_gmt":"2024-02-29T21:41:10","slug":"mozart-overtures","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/mozart-overtures\/","title":{"rendered":"Mozart: Overtures"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By Sarah Urwin Jones\n      <\/p><p class=\"rssbyline\">Published: Thursday, 29 February 2024 at 18:57 PM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p>K\u00f6lner Akademie\/Michael Alexander Willens<\/p><p><em>BIS BIS-2062\u00a0\u00a0 62:26 mins<\/em><\/p><p>A disc full of <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-overture\">overtures<\/a><\/strong> might be in danger of seeming like a perpetual starter that never gets on to the main course, but Michael Alexander Willens keeps things moving at such a pace that the thought barely crosses one\u2019s mind \u2013 at least at first. And if <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/mozart\">Mozart<\/a><\/strong> always spun a clever line between innovation, the musical constructs of the day and audience expectations in a particular place, there is enough structural diversity here to stave off any feeling of being shortchanged, operatically.<\/p><p>The K\u00f6lner Akademie is in period instrument guise, and the sound is often suitably thrilling and zippy. Willens and his orchestra find the humorous contrast between the quiet strings and the clashing percussion in the overture for <em>Die Entf\u00fchrung aus dem Serail<\/em> \u2013 subtlety is not the driving motif in this dance of delicacy and brashness. <\/p><p>The K\u00f6lner woodwinds are pinpoint accurate in <em>Cos\u00ec fan Tutte<\/em> despite the fast-forward speed \u2013 but here as elsewhere, sometimes one is left wondering if matters needed to move on quite so quickly. The dark timbre of <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/mozarts-don-giovanni-best-recordings\">Don Giovanni<\/a><\/strong><\/em> provides respite and magnitude, and it is fascinating to listen to the ways in which Mozart played with the musical form of the overture itself, not least as we come to <em>La clemenza di Tito<\/em> and <em>Die Zauberfl\u00f6te<\/em> (<strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/best-recordings-mozart-magic-flute\"><em>The Magic Flute<\/em><\/a><\/strong>). <\/p><p>Yet despite the virtuosic and enjoyable exposition by Willens and the K\u00f6lner Akademie, there is still that nagging sense that we are constantly beginning and never quite getting to the place we were promised.<br\/><\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Sarah Urwin Jones Published: Thursday, 29 February 2024 at 18:57 PM K\u00f6lner Akademie\/Michael Alexander Willens BIS BIS-2062\u00a0\u00a0 62:26 mins A disc full of overtures might be in danger of seeming like a perpetual starter that never gets on to the main course, but Michael Alexander Willens keeps things moving at such a pace that [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":39590,"template":"","categories":[1,79,19],"acf":{"readingTimeMinutes":"2"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/02\/mozart-overtures.jpg",900,900,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/02\/mozart-overtures-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/02\/mozart-overtures-300x300.jpg",300,300,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/02\/mozart-overtures-768x768.jpg",768,768,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/02\/mozart-overtures.jpg",800,800,false],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/02\/mozart-overtures.jpg",900,900,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/02\/mozart-overtures.jpg",900,900,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Sarah Urwin Jones Published: Thursday, 29 February 2024 at 18:57 PM K\u00f6lner Akademie\/Michael Alexander Willens BIS BIS-2062\u00a0\u00a0 62:26 mins A disc full of overtures might be in danger of seeming like a perpetual starter that never gets on to the main course, but Michael Alexander Willens keeps things moving at such a pace that&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/39589"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/39590"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=39589"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=39589"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}