mozart sinfonia concertante best recording

Mozart composed his Clarinet Concerto just a few months before his death while he was also working on his Requiem. 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. At an ample 14'22", the opening movement out-maestosos all the competition. Jan 26, 2016 - The best recording of Mozart’s Sinfonia concertante for violin and viola | gramophone.co.uk 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. The second movement may be the most heartfelt piece of music Mozart composed to this point. 47 →, Camille Saint-Saens – Danse Macabre, Op. But affection and minutely observed detail never obscure a sense of the longer line. 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. 15, Jean Sibelius – Violin Concerto in D minor, Op. A monumental conductor. 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 Mozart-Erdélyi Recording Project: Interview with Csaba Erdélyi (May 15, 2012) What, in your estimation, was Mozart’s inspiration to the creation of the Sinfonia Concertante for solo violin, solo viola and orchestra in E-flat major, K. 364? 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. Mozart's Sinfonia Concertante, kv364; ... the recording that ties everything that should be kv364 together and makes it sweet and tender and light and airy is the recording off of the Amadeus soundtrack by none other than The Academy of St. Martin in the Fields under the direction of Sir Neville Marriner. That just about sums it up. The Andante tends to get slower as it proceeds, yet by the end it has reached a pitch of anguish matched by few performances. Under Zubin Mehta the Israel Philharmonic Orchestra sounds stodgy and inflated, with unalluring string tone. The resultant tangy, throaty quality is especially effective in the combustible finale. 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. 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). Pathos is at a premium. 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? 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. The Sinfonia concertante, then, is not a work for shrinking violets sporting what has been cruelly dubbed ‘the viola player’s innate inferiority complex’. But it works superbly. Some might find this performance slightly understated. Gramophone is part of Yakov Kreizberg launches the Sinfonia concertante in emphatic style: a no-nonsense tempo, lashing sforzando accents, a powerful forward impetus. He wanted so badly to leave the hell he viewed as his employment with the Archbishop of Salzburg, and he had hoped this trip would find him a new employer. 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. After the bereft, disconsolate close, the contredanse finale, virtually unshadowed by the minor key, bounds in with a glorious sense of physical relief. As in the Carmignola-Waśkiewicz recording, they downplay the maestoso in favour of a fiery sweep. As a born musical democrat Mozart gives the soloists absolutely equal billing. Sharon Bezaly is renowned – and revered by flautists – for her powerful, full-bodied tone and iconic 24-carat gold flute. Among the latter group is the version from the stellar pairing of Itzhak Perlman (violin) and Pinchas Zukerman (viola) in 1982. Andante: B1 – 3. Please help support this site by purchasing discs through the provided links. In the opening movement the phrasing of the bravura dialogues, with diminuendos on each volley of semiquavers, becomes predictable. Ensemble: Israel Philharmonic Orchestra "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. 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. Even the final Presto, taken steadily, is tinged with wistfulness, and the Andante has a musing, quasi-improvisatory quality. Mozart - Sinfonia concertante K 364, Sinfonia No. Inclined view of this trip undoubtedly on his mind, Mozart was in Carmignola-Waśkiewicz... And his soloists ignore the composer ’ s prescribed maestoso, this is the. ” ( Philadelphia ) some links are affiliate links where I earn from qualifying purchases recording was as... Provided links which recording is the 1983 recording from Gidon Kremer and Kim Kashkashian, with diminuendos on each of... 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