Notes: MOZART Violin Concertos 4 und 5 Wolfgang Schneiderhan Berliner Philharmoniker – The Concertos in D major, K. 218, and in A major, K. 219, like the three other Mozart Violin Concertos whose authenticity is undoubted, date from 1775. Mozart was then nineteen, and was leader of the Prince-Archbishop’s Court Orchestra in his native Salzburg. The years spent at Salzburg prior to his journey to Mannheim and Paris (1777/79) may be described as the „galant“ period of Mozart’s life. The compositions of this time correspond to the concept of the serene Mozart, a „Raphael of music“, the master who „did not represent the fermenting of the passions in his art, but completely overcame all that was impure and disturbing, to produce perfect beauty“ (Jahn).

…in an Arcadian landscape

Mozart’s Violin Concertos could be described as a particular from of divertimento, and compared to the serenades which he wrote in Salzburg at about the same time. Agreeable and songlike elements form the melodic style. All thoughts of pain and grief seem to have been banished; the listener find himself in an Arcadian landscape where grace and serenity reign supreme.

…incomparably individual in character

The Concertos K. 218 and K. 219 conclude the group. While conventional features are unmistakable in the first two Concertos (K. 207 and K. 211), in which Mozart employed certain stereotyped elements of the serenade style, the Concertos K. 216, K. 218, and in particular the A major Concerto K. 219, are incomparably individual in character.

…an unexpected slow bridge passage

The opening of the A major Concerto is a good example of the freedom with which Mozart handled the traditional formal pattern of a concerto: in this Allegro the orchestral exposition is immediately followed not by the solo violin’s entry with the theme, but by an unexpected slow bridge passage, a recitative in which the solo violin, accompanied by arabesques of the other violins and delicate oboe and horn chords, prepares and „tries out“ its theme. Only after this does the Concerto really begin: the orchestra plays almost exactly as it hat at the opening, but the solo violin now overtops it with the principal theme.

…the musical ideas of another composer

The D major Concert, K. 218, has an unusual history. It was believed that Mozart had based his composition on the Violin Concerto in D major of Luigi Boccherini, perhaps unconsciously, presenting the musical ideas of another composer, whose nature was akin to his, in a new musical context. Recently, however, the belief has been hardening that the Boccherini Violin Concerto is spurious – that this was not a case of Mozart imitating Boccherini, but that the alleged Boccherini Concerto is apocryphal, having been based on Mozart’s composition.

MOZART Violin Concertos 4 und 5 Wolfgang Schneiderhan Berliner Philharmoniker

Artykuł MOZART <br />Violin Concertos 4 und 5 <br />Wolfgang Schneiderhan Berliner Philharmoniker pochodzi z serwisu Cleartone.

BEETHOVEN TRIPELKONZERT Geza Anda Wolfgang Schneiderhan Pierre Founier Ferenc Fricsay

Audiophile Pressing: BEETHOVEN TRIPELKONZERT Geza Anda Wolfgang Schneiderhan Pierre Founier Ferenc Fricsay

Radio-Symphonie Orchester Berlin

The new remastering in DG’s The Originals series makes for cleaner, less harsh sonics. The performances remain recommendable, especially the Beethoven. – Record Review / Dan Davis, ClassicsToday.com / 25 April 2005

. . . Fricsay’s accompaniment, which has enormous energy and warm-heartedness in equal measure [is marvellous, too]. The same qualities of superlatively natural musicianship are to be heard in the Beethoven Triple Concerto. The sound has come up marvellously. Tremendous. – Record Review/ Nigel Simeone, International Record Review (London) / 01 September 2005

Artykuł BEETHOVEN <br />TRIPELKONZERT <br />Geza Anda, Wolfgang Schneiderhan, Pierre Founier, Ferenc Fricsay pochodzi z serwisu Cleartone.