In 2005, Thomas Zehetmair plays with a sense of fantasy that can leave the husky-toned Ruth Killius in the shade, though he tends to rush his fences in the outer movements.
More than most conductors, Christoph Eschenbach heeds the first movement’s maestoso qualification. 20, Always on the lookout for you, I would recommend purchasing this. Yet it’s hard to believe Primrose had much say over tempo. Sinfonia concertante (IPA: [siɱfoˈniːa kontʃerˈtante]; also called symphonie concertante) is an orchestral work, normally in several movements, in which one or more solo instruments contrast with the full orchestra. Presto – Mozart*, Igor Oistrakh* And David Oistrakh* Duo For Violin And Viola In G K. 423: B2 – 1. Under Zubin Mehta the Israel Philharmonic Orchestra sounds stodgy and inflated, with unalluring string tone. Copyright © 2021 Classical Music Buyer's Guide, Affiliate Disclosure - Terms and Conditions - Privacy Policy, Wolfgang Amadeus Mozart – Sinfonia Concertante, K. 364, St. Louis Symphony Orchestra program notes, Julia Fischer (violin), Gardan Nikolic (viola). On the plus side are Grumiaux’s plangent tone and tenderly shaped phrasing in the Andante and the unusual urgency he brings to the minor-keyed themes in the opening movement. As in the Carmignola-Waśkiewicz recording, they downplay the maestoso in favour of a fiery sweep. 5 in C minor, Op. In 2007 on Archiv, we hear a more massively conceived period performance (and we know that Mozart liked large orchestras) from Giuliano Carmignola and Danusha Waśkiewicz with Claudio Abbado’s Orchestra Mozart.
On their own terms, the soloists give a compelling, highly sophisticated performance, seeking out the darker side at every opportunity in the first movement, unleashing a virtuoso brilliance in the finale (as a born show-off, Mozart might well have relished their pitch-perfect spiccato) and combining a frank emotionalism with an understanding of the longer line in the Andante. This little Swiss release is not a state-of-the-art recording of Mozart's Sinfonia Concertante in E flat major for violin and viola, K. 364, and that, perhaps, is its charm. The sheer élan of the finale, violin and viola sparring impishly, epitomises a crucial side of the young Mozart’s personality, even amid the frustrations of his Salzburg servitude. A sortable list of all the Recommended Recordings on CMBG. Beyond this, their first movement is sturdy and straightforward, their Andante properly flowing, though less inward than some. Rachel Podger and Pavlo Beznosiuk, with the Orchestra of the Age of Enlightenment in 2009, are at their best in a frolicking, rollicking finale, spiced (uniquely in this survey) by cheeky touches of ornamentation. Here, it is recorded in Baborák's arrangement for Mozart's original instrumentation. There a variety of rival 2 disc sets with these same six works, most notably Grumiaux (the 1960s sound is showing its age) and Carmignola. And you can almost see the smile on their faces as they vie in the finale’s bravura flights. In two other period (or quasi-period) versions, the violinist tends to outshine the viola player in personality and sometimes sheer volume. Yet forced to choose an outright winner, as the rules demand, I’ll plump for Iona Brown and Lars Anders Tomter with the Norwegian Chamber Orchestra in 1995. The soloists’ ubiquitous crescendo-diminuendo effects in the first movement sound studied; and I sense no joy in the jabbingly accented finale. Shop Mozart: Sinfonia Concertante [CD] at Best Buy. But this remains guesswork. The resultant tangy, throaty quality is especially effective in the combustible finale. The best recording of Mozart’s Flute Concerto No. Both soloists, too, think long. At 8'42" (another record on disc), the Andante is now determinedly de-romanticised. The genre of the ‘Sinfonia Concertante’ was born in Paris in the second half of the eighteenth century. 35, Felix Mendelssohn – Octet in E flat major, Op. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. Playing the solo parts are virtuosos from Europe's best orchestras. This time, however, it was his mother. 1 in D minor, Op. The Sinfonia Concertante is a much later work and in Mutter and Bashmet's hands is utterly spell-binding. 1. It’s difficult to hear this movement and not feel Mozart’s immense loss. Frank Peter Zimmermann (violin), Antoine Tamestit (viola) Kammerorchester des Symphonieorchesters des Bayerischen Rundfunks, Radoslaw Szulc There’s a close dramatic interplay between the soloists: say, in the viola’s assuaging response to the violin’s anxious C minor theme in the first movement – an exchange movingly heightened in the recapitulation – or the impulsive whoops of delight in the finale. That just about sums it up. Register now to continue reading Thank you for visiting Gramophone and making use of our archive of more than 50,000 expert reviews, features, awards and blog articles. Needless to say, Power is every bit Vengerov’s equal in subtlety of nuance and tone colour. Mozart's Sinfonia Concertante is one of the most beautiful compositions ever written. In a Gramophone interview, violinist Maxim Vengerov revealed that he had talked to Rachel Podger and Trevor Pinnock before recording Mozart. Mozart was at the ripe age of twenty three when he composed the Sinfonia Concertante. Disc Title: Sinfonia Concertante, K. 364 • Concertone, K. 190 That feeling for whole paragraphs, beyond individual notes and phrases, is something I miss in another Romantically conceived performance, from Anne-Sophie Mutter and Yuri Bashmet in 2005. At just over 14', with six laborious beats to the bar, the Stern-Primrose Andante is the slowest on disc, the tempo surely dictated by Casals. Hänssler: HC15042. Buy CD or download online. He also brightens the viola’s innate duskiness with a scordatura tuning – writing the part in D major, with the strings tuned up a semitone. Overall, there is virtuosity aplenty, with Heifetz in aggressive ascendancy, but precious little wit or affection. For a more Classical reading, Brown and Imai should be on anyone’s shortlist. The violinist remarked that in his younger days he hadn’t much cared for the Sinfonia concertante. Played and recorded by the world's best violing virtuosos, it's hard to decide which recording is the best. The outer movements are effective in a slightly too-knowing way. Podger and Beznosiuk form a close, democratic partnership. Some links are affiliate links where I earn from qualifying purchases. Einstein believed it authentic and placed in main section of K3; K6 doubted authenticity and placed it in Anh C, with lost work listed as K297B in main section. Frang’s pure, slender violin tone and Rysanov’s burnt-umber viola complement each other beautifully, each reacting creatively to the other.
The trip, you could imagine, had a profound effect on Mozart, both emotionally and professionally. It seems fair to assume that, inspired by the sinfonie concertanti he had encountered in Paris and Mannheim, he composed it, in summer or autumn 1779, for himself to play with the Salzburg court Konzertmeister Antonio Brunetti. Launched by a massive opening tutti, braying horns to the fore, the first movement is the most reflective of any performance, with Kashkashian’s viola probing every recess of doubt and vulnerability. Here the mellow darkness of her tone beautifully complements Brown’s sweetness and purity in a partnership of equals. Composer: Wolfgang Amadeus Mozart Augustin Dumay and Veronika Hagen likewise go in for double-dotting in their self-directed Salzburg performance from 2000. Composition: Sinfonia Concertante, K. 364 Read the review, Iona Brown vn Lars Anders Tomter va Norwegian Chamber Orchestra, Superbly matched soloists and lithe ensemble playing in a joyous performance mingling subtlety of detail with a natural Mozartian flow. MA Music, Leisure and Travel
Vibrato is modest and tellingly varied. A year prior to completing this composition, Mozart was in the midst of a two year sojourn to Mannheim and Paris. 15, Jean Sibelius – Violin Concerto in D minor, Op. Also our concert series Classical Highlights at the Tonhalle Zürich will engage 3 of best my students for several concerts by our concert series in famous Tonhalle Zürich in Switzerland. It was precisely in these parts that the Sinfonia concertante reigned supreme. But all of their performances – one from 1963, rigidly conducted by Kirill Kondrashin; a BBC Proms DVD from the same year, with Yehudi Menuhin unconvincingly at the helm; and a self-directed Berlin Philharmonic version from 1971 – emerge as monumental and monolithic, with an air of macho competitiveness in Mozart’s conversational exchanges. 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