It so happened that I heard this recording of Mozart's Symphony No. 31 on the same day as Haydn's No. 31, also conducted by Sir Charles Mackerras for Telarc. The sharp contrast between the Prague Chamber Orchestra here in Mozart and the Orchestra of St Luke's in Haydn confirmed my initial reaction to this latest issue in what till now has been an outstanding series. In the earlier issues the Prague recording acoustic was always on the reverberant side, but it has not in general been a barrier to enjoyment, whether in conveying too big a scale or in obscuring detail.
Here, I fear, the placing of the orchestra at a slight distance in what I assume is the same acoustic as before has produced a thicker texture, with detail seriously obscured, even though certain details—such as the harpsichord continuo— remain commendably clear. The sleeve-note hints that the change from before may be deliberate referring to Nos. 31 and 34 as ''large-gestured pieces fit for large audiences and large orchestras''.
As in the previous issues the performances are admirable, meticulous in the observance of repeats (even in the Da capos of minuets), generally brisk in choice of speeds and clean of attack with—for example phenomenal articulation of quavers in the Presto finale of the Paris. One hears them well enough in the light textures at the start but then in tuttis they disappear in a mush, as happens too with the rapid triplets in the finales of No. 33 and No. 34. I have used as comparisons the Levine versions with the Vienna Philharmonic on DG (on three separate discs), which interpretatively are less imaginative, but, presented in closer focus, have an apter scale.
One welcome extra on a well-filled disc is the 3/4 alternative Andante slow movement for the Paris Symphony, Mozart's second thoughts when the 6/8 Andante failed to find favour with the Paris impresario. Yet I question the decision to put it on the disc before the finale, even when meticulous instructions are given for programming it on CD one way or the other. The danger for the incautious collector of playing both slow movements in sequence is far too great. What surprises me is that the chance has not also been taken of including the Minuet, K409, originally intended for No. 34.'