These are very compelling, very intense performances of four symphonies from 1772, written when Mozart was 16. I find it intriguing that Nikolaus Harnoncourt, who has played so prominent a role in the movement for ‘authentic’ performance and period instruments, should be quite so cavalier over some aspects of the music. He uses a far wider dynamic range and sharper accentuation than would have been countenanced in Mozart’s day, and he is curiously disregarding of some of Mozart’s articulation. Take the opening bars of the first symphony here, K128: the violin triplets are detached and staccato in the original, but here several are slurred. In the 6/8 finale Harnoncourt adds slurs, too; there are more in (for example) the minuet of K130 and the second violin accompaniment in the secondary theme of the first movement of K134, and elsewhere too. Any conductor is of course entitled to change the articulation if he wants to, but it certainly alters the sense of the music, sometimes quite substantially (much in the way that different emphases may alter the sense of spoken words). I don’t quite understand how this squares with Harnoncourt’s stance on authenticity.
Still, these are powerful and arresting performances, marked by sturdy rhythms (try the second subject of the first movement of K128), sharp contrasts and brusque, almost explosive accents. I like the drive he brings to the first movement of K129 (which is usually treated as a lighter, more elegant piece), and the splendid K130 is crisply done, its unusual orchestration (two flutes, four horns) well brought out. Perhaps the hint of opera buffa-like wit here eludes him: the issues seem weightier. Similarly, in the opening movement of the rather more mature K134 (only three months later, but that was a long time for Mozart), Harnoncourt is a shade stiff, though he is amply energetic – and he catches well the eloquence and the sensuous tone of the Andante. This isn’t, then, the most graceful or stylish of Mozart playing, but it is certainly vivid and committed.'