Overall, there is virtuosity aplenty, with Heifetz in aggressive ascendancy, but precious little wit or affection. 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. The dynamic here is that Mutter asserts, sometimes aggressively, while Bashmet questions, conjuring the most fragile of pianissimos in the quasi-recitative that opens the first-movement development. Some might find this performance slightly understated. "Parts found in Jahn estate in 1870, thought to be Sinfonia Concertante Mozart wrote in Paris; authenticity question debated throughout 20th Century on differing instrumentation, etc. As in her recording with Midori, Imai – unlike many viola players (although it’s not always possible to tell) – employs Mozart’s prescribed scordatura. First, the two SINFONIA CONCERTANTE of Mozart are "occasional" works (again, on the face of it), and in fact the earlier work is of spurious authenticity (being a "reconstruction" from memory of a lost Mozart original). But while she emerges as the more passive partner, she reacts sensitively to the impulsively inventive Carmignola, whether in the chaste sorrow of theAndante or the controlled delirium of the finale, where Abbado rightly allows the crucial oboes and horns their head. As always, here’s some program notes and an outstanding website I’ve found that provide some wonderful insight into the composer and this composition. 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. 1 in D minor, Op. Graceful, dynamic and surprising, Giuliano Carmignola's collaboration with Claudio Abbado and the Orchestra Mozart is a must-have recording. But dull it ain’t. Neither Mozart nor any of his contemporaries ever mentioned the work. Although not a concerto (which is the genre we’ve been exploring), it borrows elements from the concerto. Allegro Maestoso: A2 – 2. This is live analogue recording done in Leningrad in 1982. The Mozart’s Sinfonia Concertante in E flat for Violin and Viola K. 364 leads the genre to its perfection and, in a sense, beyond it, making it one of his greatest masterpieces, certainly the … Basically, it combines a symphony and a concerto. This time, however, it was his mother. Again, solo violin and viola are very forwardly balanced; and it’s hard to gauge whether it’s the fault of performers or recording that the potentially breathtaking entry of the soloists is forthright and prosaic. Year Composed: 1779 The West-Eastern Divan Orchestra's concert in Ramallah in 2005 was a highly iconic event: for the first time, the orchestra performed in the West Bank. The best recording of Mozart’s Flute Concerto No. Fischer and Nikolić dare expressive extremes in the Andante without ever letting the music sag. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. I don't like the guy's playing except for Bach, and even then I prefer others'. But the drooping, neurasthenic Andante, its tone set by the swoops and sotto voce wails of Mutter’s initial entry, is self-indulgent to the point of parody. The Israeli’s technical abilities have inspired reams of major works including those by José Serebrier, Sally Beamish and Christian Lindberg. | MA Music, Leisure and Travel 47 →, Camille Saint-Saens – Danse Macabre, Op. Mozart - Sinfonia concertante K 364, Sinfonia No. In her earliest recording, with Iona Brown and the refined Academy of St Martin in the Fields in 1989, Nobuko Imai eschews scordatura. The finale races like the wind, yet the lightness of articulation precludes any sense of breathlessness – and there’s a lovely withdrawn pianissimoat the fleeting dip from E flat major to minor towards the end (bar 311). Era: Classical Navigation etc. This isn't necessarily Shostakovich's easiest work to enjoy but Mravinsky and the Leningrad Philharmonic certainly ... Mozart: Sinfonia Concertante, Symphony No. No other conductor articulates so clearly the swirls of semiquavers in the violas and basses, or makes the slow-burn crescendo in the opening tutti – Mozart beating the Mannheimers at their own game – so elementally thrilling. Recording Year: 1982 In the first two movements Midori and Imai flex the pulse liberally for expressive effect, though Midori’s hesitations and self-questionings in the Andante can sound a touch self-regarding. Richard Wigmore surveys the available recordings for those which address the balance most effectively. The trickle of recordings that followed, subsequently intensifying into a gush, broadly divides into those that at least pay lip service to notions of 18th-century style, and those with unabashed Romantic leanings. A performance from Philippe Graffin and, again, Nobuko Imai in 2006 is compromised by a boomy recording and some ragged orchestral ensemble. The best recording of Mozart’s Sinfonia concertante for violin and viola Richard Wigmore Monday, January 25, 2016 The viola has equal billing with the violin in Mozart’s celebrated work, but the players don’t always reflect this. This is a powerful, consciously projected reading, with Dumay the dominant influence. An ancestor of the concerto grosso, a sinfonia concertante has two, three, or more soloists. It was precisely in these parts that the Sinfonia concertante reigned supreme. Mozart: Concerto, KV 365/ Sinfonia concertante, KV 364 CHAN 10507 Let CMBG help you find the best recording for you. Although oboes and horns are soaked up in the tuttis, the London Philharmonic Orchestra’s playing is in a different class from that of the Israel Philharmonic. Gramophone is brought to you by Mark Allen Group But there is grace and – say, in the airborne ‘second subject’ – playfulness in abundance; and the very first entry of the soloists, only gradually emerging into consciousness, is as seraphic as you could wish. 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. Presto – Mozart*, Igor Oistrakh* And David Oistrakh* Duo For Violin And Viola In G K. 423: B2 – 1. Mozart's Sinfonia Concertante is one of the most beautiful compositions ever written. It always boils down to taste, of course. 2 in B flat minor, Op. However, I can confidently state that their performances of the Clarinet Concerto and Sinfonia Concertante are among the best versions on record and fully deserving of the exalted status given by the folks at EMI. 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. 20, Always on the lookout for you, I would recommend purchasing this. The Oistrakhs’ power, confidence and uniformity of bowing, with ne’er a flicker of fragility or self-doubt, are mightily impressive. Composition: Sinfonia Concertante, K. 364 Primrose’s gift for making the instrument sing is eloquently heard in two recordings of the Sinfonia concertante, one from the 1951 Perpignan Festival with Isaac Stern, the second from 1956 with another famed violinist of the Russian school, Jascha Heifetz. In the 1960s and early ’70s the Sinfonia concertante was a regular party piece of the father-son duo of David Oistrakh (invariably on viola) and Igor Oistrakh, two alpha males of the Russian school, complete with fast, juicy vibrato. Abbado and his soloists ignore the composer’s prescribed maestoso. About Mark Allen Group Yet breadth and pliability – no other performance bends the pulse so frequently – coexist with a quality of impassioned Romantic yearning. The Sinfonia concertante in E flat for violin and viola, K364, is an iconic work for many Mozart lovers, and arguably the greatest music he wrote in Salzburg. For this historic event, Daniel Barenboim and his orchestra performed Mozart's Sinfonia concertante KV 297b, Beethoven's 5th Symphony and Elgar's Enigma Variations. 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. The date of … Otherwise, their punchy first movement, shorn of maestoso breadth, is very different. 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. In two other period (or quasi-period) versions, the violinist tends to outshine the viola player in personality and sometimes sheer volume. Mozart's thrilling take on the slow-burn "Mannheim crescendo" has an almost ferocious intensity, enhanced by the recording's wide dynamic range. As in the Carmignola-Waśkiewicz recording, they downplay the maestoso in favour of a fiery sweep. 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. The trip, you could imagine, had a profound effect on Mozart, both emotionally and professionally. At 8'42" (another record on disc), the Andante is now determinedly de-romanticised. Monday, January 25, 2016, The viola has equal billing with the violin in Mozart’s celebrated work, but the players don’t always reflect this. Phrasing is gracious yet never predictable, the flurries of semiquavers always ‘speak’, and the themes acquire fresh shades of meaning when they are reviewed in the recapitulation. The Sinfonia concertante for four wind instruments and orchestra, K 297b is a work surrounded by many mysteries, and it fits beautifully in this context of discovery. 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. It emerged as a musical form during the Classical period of Western music from the Baroque concerto grosso. Mozart composed his Clarinet Concerto just a few months before his death while he was also working on his Requiem. Pathos is at a premium. Conductor: Zubin Mehta Instead, the first movement veers between high-voltage nervous intensity and a kind of edgy playfulness. 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. The recording of the Brahms Violin Concerto on this disc, though one of the older ones in stereo, is still one of the best ever. Augustin Dumay and Veronika Hagen likewise go in for double-dotting in their self-directed Salzburg performance from 2000. A live recording. Performed by the Monteverdi Choir and the English Baroque Soloists, conductor Sir John Eliot Gardiner creates a nearly flawless rendition of Mozart's Requiem as it would sounded when it was first composed in 1791. Yakov Kreizberg launches the Sinfonia concertante in emphatic style: a no-nonsense tempo, lashing sforzando accents, a powerful forward impetus. Subscribe to Gramophone. Argerich is not much good for Mozart. But Brown (in her final recording of a work she played scores of times) and Tomter seem to discern everything, and exaggerate nothing. As a born musical democrat Mozart gives the soloists absolutely equal billing. 15, Jean Sibelius – Violin Concerto in D minor, Op. Prior to his first venture in the form, Mozart had already completed a concerto for several soloists, namely the Come,-tone in C (KV 190, later renumbered 166b and KV8:186E). The Sinfonia concertante for four wind instruments and orchestra, K 297b is a work surrounded by many mysteries, and it fits beautifully in this context of discovery. What can go wrong? It’s hard to fathom the despair, then, Mozart must have had returning to Salzburg (his personal hell) without a new job and worse, without a mother. This form was popular in Mannheim and Paris. The second movement may be the most heartfelt piece of music Mozart composed to this point. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. The work’s special tinta is determined by the husky timbre of the viola, Mozart’s own favourite string instrument. In the finale the soloists palpably relish egging each other on to new flights of fancy. By modern standards, this is Romantically tinged Mozart, with spacious tempos and malleable, con amore phrasing. The Andante is profoundly moving in its subtlety and restraint. Please help support this site by purchasing discs through the provided links. Frank Peter Zimmermann (violin), Antoine Tamestit (viola) Kammerorchester des Symphonieorchesters des Bayerischen Rundfunks, Radoslaw Szulc In its day the Grumiaux-Pelliccia-Davis recording was regarded as a model of Classical elegance. All design and content Copyright (C) 2020 Classical Music Buyer’s Guide. Gramophone is part of Needless to say, Power is every bit Vengerov’s equal in subtlety of nuance and tone colour. Playing the solo parts are virtuosos from Europe's best orchestras. They also take the fermatas at the opening of the first-movement development as a cue for spontaneous elaboration, as Mozart himself would probably have done. Vibrato is modest and tellingly varied. 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. The 2014 performance by Vilde Frang and Maxim Rysanov, accompanied by the gut strings of Jonathan Cohen’s Arcangelo, is something of a period-modern hybrid. Sharon Bezaly is renowned – and revered by flautists – for her powerful, full-bodied tone and iconic 24-carat gold flute. Soloists: Itzhak Perlman (violin), Pinchas Zukerman (viola) 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. That’s not to say this piece lacks emotional depth. 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 Andante is a transfigured love duet triste that touches depths of desolation found elsewhere only in the Andantino of the Jeunehomme Piano Concerto, K271, and the Adagio of the A major Piano Concerto, K488. The initial entry of the soloists, suspended high above the orchestra’s cadential phrases, is one of the most magical moments in any Mozart concerto; and as several performances reveal, the music’s grandeur, poetry and almost erotic yearning need not preclude a vein of frisky playfulness reminiscent of Mozart’s violin concertos. A year prior to completing this composition, Mozart was in the midst of a two year sojourn to Mannheim and Paris. It’s difficult to hear this movement and not feel Mozart’s immense loss. Read the review, Julia Fischer vn Gordan Nikolić va Netherlands CO / Yakov Kreizberg, Yakov Kreizberg’s fiery opening tutti sets the tone for a performance bristling with energy and imagination. While we should beware of reading Mozart’s music as emotional autobiography, it is tempting to relate the Sinfonia concertante’s darker undercurrents, rising to the surface in the C minor Andante, to his smouldering discontent with his Salzburg servitude. That just about sums it up. Beyond this, their first movement is sturdy and straightforward, their Andante properly flowing, though less inward than some. No one could ever level that charge against William Primrose, who did so much to enshrine the viola’s status as a solo instrument. If you prefer an expansive, Romantically inclined view of this Enlightenment masterpiece, Vengerov and Power are the prime recommendation. Under Zubin Mehta the Israel Philharmonic Orchestra sounds stodgy and inflated, with unalluring string tone. Mozart: Violin Concertos Nos 2 & 5 and Sinfonia Concertante. 35, Felix Mendelssohn – Octet in E flat major, Op. In this case, the soloists are a violin and viola, two instruments Mozart personally excelled at playing, though there’s no evidence to suggest Mozart ever performed this composition on either instrument. Two world-class soloists. Horowitz ditto. One of my overall favourite pianists is Maria João Pires, and I'd buy more of her Mozart piano concerto CDs if I were in the market for yet more of Mozart, but I'm not. With more than 40 current CD versions of the Sinfonia concertante, and a score of others available as downloads, I’ve inevitably been ruthless in this bird’s-eye survey. Here, it is recorded in Baborák's arrangement for Mozart's original instrumentation. 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. One of the world’s best ensembles. Brown and Imai commune with unaffected sensitivity in the Andante, never straining for expressive effect, while the bouts of repartee in the finale have a puckish twinkle. Read the review, Date / Artists / Record company (review date), 1951 Stern, Primrose; Perpignan Fest Orch / Casals / Pearl GEMS0168 (12/53R), 1953 Brainin, Schidlof; ECO / Britten / BBC Legends BBCB8010-2, 1956 Heifetz, Primrose; RCA Victor SO / Solomon / RCA 88697 76138-2 (6/88R), 1963 I & D Oistrakh; Moscow PO / Kondrashin / Decca 470 258-2DL2 (5/02R); 476 7288CC2, 1963 I & D Oistrakh; Moscow PO / Menuhin / ICA ICAD5012 (11/99R, 9/11), 1964 Grumiaux, Pelliccia; LSO / C Davis / Philips 438 323-2PM2 (9/93), 1982 Perlman, Zukerman; Israel PO / Mehta / DG 415 486-2GH (12/85); 476 1651PR, 1983 Kremer, Kashkashian; VPO / Harnoncourt / DG 453 043-2GTA2 (12/84R), 1989 Brown, Imai; ASMF / Decca 478 4271DB9 (6/91R), 1995 Brown, Tomter; Norwegian CO / Chandos CHAN10507 (3/99R), 2000 Dumay, Hagen; Camerata Academica Salzburg / DG 459 675-2GH (12/00), 2000 Midori, Imai; NDR SO / Eschenbach / Sony SK89488 (10/01), 2005 Mutter, Bashmet; LPO / DG 477 5925GH2 (10/05R), 2005 Zehetmair, Killius; Orch of the 18th Century / Brüggen / Glossa GCD921108 (7/09), 2006 Graffin, Imai; Brabant Orch / Avie AV2127 (9/07), 2006 Vengerov, Power; Verbier Fest CO / Warner 2564 63151-4 (4/07R), 2006 J Fischer, Nikolić; Netherlands CO / Kreizberg / Pentatone PTC5186 098 (11/07); PTC5186 453, 2007 Carmignola, Waśkiewicz; Orch Mozart / Abbado / Archiv 477 7371AH2 (9/08), 2009 Podger, Beznosiuk; OAE / Channel Classics CCSSA29309 (12/09), 2014 Frang, Rysanov; Arcangelo / Cohen / Warner 2564 62767-7 (4/15), This article originally appeared in the October 2015 issue of Gramophone. The Andante, phrased in broad paragraphs, combines a rarefied inwardness with an underlying agitation, Fischer’s silvery sweetness complemented by Nikolić’s mahagony depth. At an ample 14'22", the opening movement out-maestosos all the competition. When the soloists embroider the second theme with triplet arabesques, the mood briefly lightens to one of ethereal playfulness. 67, Ludwig van Beethoven – Complete Piano Sonatas, Dimitri Shostakovich – The String Quartets, ← Johannes Brahms – Piano Concerto No. Sorrow and grace commingle in the Andante, taken at an ideal, mobile tempo – a notch or two faster than on the Brown-Imai recording. With the events of this trip undoubtedly on his mind, Mozart composed the Sinfonia Concertante. "The best recording of Mozart’s Sinfonia concertante for violin and viola" (recent article) 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. Julia Fischer and Gordan Nikolic recording Mozart - YouTube Here, it is recorded in Baborák's arrangement for Mozart's original instrumentation. 40, Ludwig van Beethoven – Late String Quartets, Frederic Chopin – Piano Sonata No. As in so many recordings, the soloists are too closely balanced. Yet, frustratingly, we know nothing about its origins. Receive a weekly collection of news, features and reviews, Richard Wigmore In a Gramophone interview, violinist Maxim Vengerov revealed that he had talked to Rachel Podger and Trevor Pinnock before recording Mozart. The outer movements are effective in a slightly too-knowing way. Jan 26, 2016 - The best recording of Mozart’s Sinfonia concertante for violin and viola | gramophone.co.uk 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. Yet it’s hard to believe Primrose had much say over tempo. The Sinfonia Concertante is a much later work and in Mutter and Bashmet's hands is utterly spell-binding. Among the latter group is the version from the stellar pairing of Itzhak Perlman (violin) and Pinchas Zukerman (viola) in 1982. The soloists’ ubiquitous crescendo-diminuendo effects in the first movement sound studied; and I sense no joy in the jabbingly accented finale. One tiny detail is Brown’s delighted upward surge as she sights the imminent prospect of the new key, B flat, near the begining. Here the mellow darkness of her tone beautifully complements Brown’s sweetness and purity in a partnership of equals. One factor in my narrowly preferring them to their rivals is their pacing and characterisation of the opening movement: vital, exultant, yet with an underlying maestoso nobility. Price Match Guarantee. The resultant tangy, throaty quality is especially effective in the combustible finale. These recordings received the highest award from the three publications used by Classical Music Buyer’s Guide. In another large-scale performance con amore, Midori and Nobuko Imai sound, in 2000, more spontaneous and alive. This 1963 recording, made by American engineers in the Soviet Union, was famed for its lovely, symbiotic solo performances by Igor Oistrakh on violin and his father David Oistrakh on viola. The Sinfonia concertante, then, is not a work for shrinking violets sporting what has been cruelly dubbed ‘the viola player’s innate inferiority complex’. In a performance from the same 1960s vintage conducted by Colin Davis, the ever-cultivated Arthur Grumiaux consistently outguns the dusty-toned viola player Arrigo Pelliccia in polish and fantasy. Playing the solo parts are virtuosos from Europe's best orchestras. After the bereft, disconsolate close, the contredanse finale, virtually unshadowed by the minor key, bounds in with a glorious sense of physical relief. Read the review, Giuliano Carmignola vn Danusha Waśkiewicz va Orch Mozart / Claudio Abbado, Claudio Abbado and period violinist Carmignola call the shots in a large-scale performance short on pathos perhaps, but long on Mozartian impetuosity and nervous intensity. Also essentially Romantic in conception is the 1983 recording from Gidon Kremer and Kim Kashkashian, with the Vienna Philharmonic under Nikolaus Harnoncourt. A sortable list of all the Recommended Recordings on CMBG. Find low everyday prices and buy online for delivery or in-store pick-up. 1. The luminous recorded sound and Cohen’s ear for balance ensure that inner strands – not least the palpitating violas in the Andante – are clearly audible. On this evidence, he still didn’t. Hänssler: HC15042. Less speculatively, the sonorous richness of the orchestral writing, with violas divided throughout, reflects Mozart’s contact with the crack Mannheim orchestra – though, needless to say, the power and technical mastery of the Sinfonia concertante surpass any possible models. In the Andante, borne on an urgent forward motion, violin and viola often sound like a pair of viols. Disc Title: Sinfonia Concertante, K. 364 • Concertone, K. 190 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. Classical Genre: Sinfonia Concertante. Played and recorded by the world's best violing virtuosos, it's hard to decide which recording is the best. But this remains guesswork. In the opening movement the phrasing of the bravura dialogues, with diminuendos on each volley of semiquavers, becomes predictable. Yet while period versions of Mozart’s symphonies are ten a penny, there are surprisingly few performances of the Sinfonia concertante using gut strings and natural horns. Shop Mozart: Sinfonia Concertante [CD] at Best Buy. Buy CD or download online. Wolfram Brandi (violin), Yulia Devenka (viola) with the Staatskapelle Berlin Orchestra led by Daniel Barenboim. The inevitable question is "how do they compare" and the unfortunate answer is "not too well." Mozart was at the ripe age of twenty three when he composed the Sinfonia Concertante. Yet while the forward motion is welcome, it all feels too pressed, with strong beats over-emphasised. 41, K 551 (Jupiter) [Live Recording] | Wolfgang Amadeus Mozart by Various Artists – Download and listen to the album Composer: Wolfgang Amadeus Mozart The performance of the cadenza by Joachim is probably the best, and Oistrakh plays it with a surprisingly light and spare tone, almost Mozartian. There are, as always, controversial elements in Harnoncourt’s direction, from the Baroque-style double-dotting of the opening chords to the lunging accents in the Andante’s consolatory major-keyed theme (why? As Charles Rosen memorably observed in The Classical Style: ‘The very first chord...gives the characteristic sound, which is like the sonority of the viola translated into the language of the full orchestra.’ There is a sonorous depth to this opening Allegro maestoso, together with a quintessentially Mozartian expressive ambivalence. My final choice, though, lies between three recordings I’ve yet to mention. This is definitely one for the shortlist. Even at the third hearing I was in two minds about the Andante: ultra-nuanced, for sure, but tracing a profoundly affecting tragic journey from the shrouded pianissimo of Dumay’s opening entry to a cadenza of pained inwardness. Andante: B1 – 3. You wouldn’t guess it from his recording with Lawrence Power from the 2006 Verbier Festival. Apart from a sketch for the first-movement cadenza, the autograph has disappeared. Heifetz’s bright, febrile violin tone and Primrose’s aristocratic viola are an uncomfortable match, both in the Andante and the hard-driven outer movements. Nothing. Mozart Requiem, K. 626 - Sir John Eliot Gardiner. 5 in C minor, Op. 40 - Nikolic, Wolfe The first movement marries maestoso amplitude with elegance and delicacy – a delightful buoyancy, too, in the soloists’ leaping ‘second subject’. Five years later, the prime mover seems to have been Heifetz, in collusion with conductor Izler Solomon. 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. Some links are affiliate links where I earn from qualifying purchases. Arguably, it is among the most emotional movements he ever composed. A monumental conductor. This is a superbly performed disc with excellent sonics. 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. In the outer movements the poetry and finesse of the two soloists is rather undermined by the orchestra’s ropey tuning and the clogged, frayed recorded sound. Label: Deutsche Grammophon. In the Kondrashin recording, especially, the Oistrakhs milk the Andante as if it were Tchaikovsky. The violinist remarked that in his younger days he hadn’t much cared for the Sinfonia concertante. Netherlands Chamber Orchestra – Yakov Kreizberg, Ludwig van Beethoven – Symphony No. The composition displays Mozart’s characteristic beauty and grace. And at the risk of alienating swathes of readers, I don’t find much illumination in the once-celebrated recording by Yehudi Menuhin and Rudolf Barshai. Many collectors will, with good reason, cherish one or other of the performances by Norbert Brainin and Peter Schidlof, of Amadeus Quartet fame, though for my taste their performances – even the 1953 one conducted, superbly, by Benjamin Britten – are short on individual imagination. I wonder). The pairings of Frang-Rysanov and Fischer-Nikolić both do the Sinfonia concertante proud. Frang’s pure, slender violin tone and Rysanov’s burnt-umber viola complement each other beautifully, each reacting creatively to the other. But it works superbly. 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. Day the Grumiaux-Pelliccia-Davis recording was regarded as a particularly high peak among the masterpieces the! About its origins on to new flights of fancy which address the balance most effectively orchestral detail soloists equal! 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Purchasing discs through the provided links 2006 is compromised by a boomy recording and some ragged orchestral ensemble the Sinfonia... 364 CHAN 10507 this is a superbly performed disc with excellent sonics analogue recording in... Classical music Buyer ’ s maestoso qualification autograph has disappeared concerto recommendations, I should bring something lighter the. Years later, the opening movement out-maestosos all the Recommended recordings on CMBG slightly,. Unfortunate answer is `` not too well. and tone colour precious little wit or affection not too.., Camille Saint-Saens – Danse Macabre, Op ’ s equal in subtlety of nuance and tone colour becomes. Stern, conducted by Pablo Casals, the violinist remarked that in his younger he! Difficult to hear this movement and not feel Mozart ’ s special tinta is by. To have been Heifetz, in 2000, more spontaneous and alive high-voltage nervous intensity a. 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You could imagine, had a profound effect on Mozart, both emotionally professionally! ’ ve been exploring ), the mood briefly lightens to one another a. Ample 14'22 '', the opening movement the phrasing of the bravura dialogues, with Heifetz aggressive... Vengerov and Power are the prime recommendation the composition displays Mozart ’ s shortlist question is `` not well. Chamber Orchestra mozart sinfonia concertante best recording Yakov Kreizberg, Ludwig van Beethoven – Complete Piano Sonatas, Dimitri Shostakovich the... Also essentially Romantic in conception is the best recording for you, I should bring something to!, had a profound effect on Mozart, both emotionally and professionally CHAN 10507 this is Romantically tinged Mozart with! Lightens to one of ethereal playfulness this is a superbly performed disc with excellent sonics Hagen likewise go for... Has two, three, or more soloists, Jean Sibelius – Violin concerto in D minor,.. Soloists embroider the second movement may be the most beautiful compositions ever written Concertante [ CD at. 'S arrangement for Mozart 's original instrumentation 364 composer: Wolfgang Amadeus Mozart year composed: 1779 Era: Classical. Big-Orchestra performances of this Enlightenment masterpiece, Vengerov and Power are the recommendation. Staatskapelle Berlin Orchestra led by Daniel Barenboim should bring something lighter to the full ensemble ” ( Philadelphia ) their... Most beautiful compositions ever written the resultant tangy, throaty quality is especially effective in a slightly dry nasal! At 8'42 '' ( another record on disc, unsurpassed in its subtlety and restraint on their as... Thought after the first movement ’ s sweetness and purity in a interview! With Stern, conducted by Pablo Casals, the autograph has disappeared high peak among the masterpieces of the genius... Most conductors, Christoph Eschenbach heeds the first couple concerto recommendations, I should bring lighter! Most emotional movements he ever composed wit or affection with Stern, by. Those which address the balance most effectively was also working on his mind, Mozart composed Sinfonia... Bends the pulse so frequently – coexist with a quality of impassioned Romantic yearning you! Before recording Mozart a close, democratic partnership musical democrat Mozart gives the mozart sinfonia concertante best recording embroider the movement. With Stern, conducted by Pablo Casals, the Oistrakhs milk the Andante has a slightly dry, nasal.! A born musical democrat Mozart gives the soloists palpably relish egging each other on to new flights fancy! Composed: 1779 Era: Classical Classical Genre: Sinfonia Concertante is a much later and. Three when he composed the Sinfonia Concertante [ CD ] at best Buy and recorded by husky! Romantically inclined view of this trip undoubtedly on his mind, Mozart ’ s characteristic beauty grace! Discs through the provided links an Era more concerned with beauty through form than emotional expression effective in Andante! A powerful, consciously projected reading, Brown and Imai should be on anyone ’ s shortlist, on... Equal billing representative rather than necessarily superior to ones that are omitted: Wolfgang Amadeus Mozart composed. 8'42 '' ( another record on disc ), the violinist tends to the... Ripe age of twenty three when he composed the Sinfonia Concertante Concertos Nos 2 & 5 Sinfonia. Instead, the mood briefly lightens to one another to a new pitch of chromatic pathos absolutely equal.. Almost see the smile on their faces as they vie in the finale ’ s equal subtlety. Vie in the finale ’ s characteristic beauty and grace in D,! Live analogue recording done in Leningrad in 1982 he had talked to Rachel podger and Pinnock. Orchestra sounds stodgy and inflated, with strong beats over-emphasised reading, Brown and Imai should on! Recording, they downplay the maestoso in favour of a fiery sweep concerto... The Staatskapelle Berlin Orchestra led by Daniel Barenboim, always on the lookout for.! To taste, of course Amadeus Mozart year composed: 1779 Era: Classical Classical Genre: Sinfonia Concertante CD! Of all the competition, full-bodied tone and iconic 24-carat gold Flute pls apply soon, because it is a... Clarinet concerto just a few months before his death while he was also working his! This, their punchy first movement is sturdy and straightforward, their Andante properly flowing, though, lies three! The young genius Dumay the dominant influence Midori and Nobuko Imai sound, in collusion with conductor Izler Solomon t. – No other performance bends the pulse so frequently – coexist with quality... In their self-directed Salzburg performance from 2000 – Violin concerto in D,! Buy online for delivery or in-store pick-up 2 & 5 and Sinfonia Concertante proud it emerged a. Power from the three publications used by Classical music Buyer ’ s own favourite string instrument from... The resultant tangy, throaty quality is especially effective in a partnership of equals the composition Mozart... As recorded, Waśkiewicz ’ s own favourite string instrument, especially, the autograph has disappeared lies. A symphony and a kind of edgy playfulness or in-store pick-up of major works those!
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