Mozart (The) Violin Concertos

Mozart-conducting and interpretation are in the realms of greatness

Record and Artist Details

Composer or Director: Wolfgang Amadeus Mozart

Genre:

Orchestral

Label: Archiv Produktion

Media Format: CD or Download

Mastering:

Stereo

Catalogue Number: 477 7371AH2

Mozart, The Violin Concertos, Abbado

Tracks:

Composition Artist Credit
Concerto for Violin and Orchestra No. 2 Giuliano Carmignola
Mozart Orchestra
Wolfgang Amadeus Mozart Composer
Claudio Abbado
Concerto for Violin and Orchestra No. 3 Wolfgang Amadeus Mozart Composer
Claudio Abbado
Giuliano Carmignola
Mozart Orchestra
Concerto for Violin and Orchestra No. 4 Mozart Orchestra
Claudio Abbado
Giuliano Carmignola
Wolfgang Amadeus Mozart Composer
Concerto for Violin and Orchestra No. 1 Mozart Orchestra
Wolfgang Amadeus Mozart Composer
Giuliano Carmignola
Claudio Abbado
Concerto for Violin and Orchestra No. 5, "Turkish" Mozart Orchestra
Claudio Abbado
Wolfgang Amadeus Mozart Composer
Giuliano Carmignola
Sinfonia concertante Mozart Orchestra
Claudio Abbado
Wolfgang Amadeus Mozart Composer
Danusha Waskiewicz
Giuliano Carmignola
Virtuoso “violinism” and energising direction notwithstanding, neither Giuliano Carmignola nor Claudio Abbado seems inspired by the B flat Concerto, K207. Nor does slick dispatch do much for the first movement of the D major, K211; but this is not the shape of things to come. Carmignola steps away from neutrality in the succeeding Andante. The music breathes a life of its own as he ardently inflects its phrases to shape the tension and relaxation of his line which – as elsewhere – he also embellishes. And pauses are decorated with lead-ins. Here is personal involvement that from now on is present in full flower.

It’s a flowering for Abbado too, as he summons a passionate advocacy that takes in the implications of key and time signatures on atmosphere and pacing, uses dynamic markings and intuitive accents to keep rhythm aloft, adjusts the timbres of the wind instruments (oboes are vivid or subdued, horns play in alto or basso) to suit the colouration he requires, and aerates the orchestral fabric for maximum clarity. Conducting and interpretation are in the realms of greatness – and no mistake.

In the solo concertos, Carmignola is recorded with varying but small changes of volume. His positioning is steadier in the Sinfonia concertante; and so is his placement with the artistic, if slightly reticent, Danusha Was´kiewicz. Nevertheless, their skilled dovetailing and intelligent use of tone colour speak of symbiosis. Abbado remains primus inter pares, watchful, supportive and fortifying. Pity the sound isn’t always clear and detailed. Superlative music making deserves consistently superlative recording.

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