Customer Reviews

Mozart: Violin Concertos

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Virgin Classics wasted no time in reducing these fine performances to super-bargain price but you need not worry that there's anything cut-rate about them. Huggett is a nimble soloist with excellent intonation. Interpretively, she's a bit reticent, not as extrovert as some performers. The use of period instruments is all gain and no pain: all of the benefits of textural clarity and rhythmic agility apply but there's is no abrasion and over-brightness, partly due to the superb recording. It's remarkable how the sound of Huggett's period violin carries in spite of the slender tone. This two-disc set is a steal.

If you want to have some idea what Mozart's violin concerti sounded like during his lifetime, you can't go wrong by purchasing this impressive, yet inexpensive two-cd collection of violinist Monica Huggett leading the Orchestra of the Age of Enlightenment. These performances are simply revelatory, showing the textural richness of Mozart's scores that are often lost when played by modern instrument ensembles and more exuberant soloists. Indeed, I concur with a previous reviewer in noting that Huggett's performances sound a bit reticient, but no means do they sound inferior to those by other, more prominent, violinists. The recordings are exemplary for early 1990's digital sound. At this price it is a steal for those interested in concerti, Mozart and period instrument performance.

There are many different interpretations of Mozart's youthfull violin concertos, and I can't claim to have heard more than 5 or 6 of them, but I find this performance very satisfying. The old Grumiaux recording with the London Symphony is often cited as the best, but I don't like the big orchestra sound, especially in an old recording, I much prefer the more open sound of the Orchestra of the 18th century. And I think Monica Huggett's playing on a violin of the period near perfect. A crititism ? The cover notes are a bit skimpy, but so is the price !

Mozart's violin concertos are the products of a young composer. A lot of their magic is created by the performers. In this set, you have a well-recorded and well-played reading by the Orchestra of the Age of Enlightenment. With Monica Huggett you get a fine soloist who is more known for her Baroque work. The result is a set of well-crafted but ultimately boring performances. Since Mozart did not designate specific cadenzas to be played, every soloist can play what they like, Huggett choosing to perform her own. They are really a major disappointment, revealing a performer who really doesn't have a lot to say about these staples of the repertoire, like the performances as a whole. These concertos are good period performances but say nothing. Skip them, especially in a crowded field.

Anyone interested in a high-quality performance of Mozart's violin concertos on period instruments needs to look no further than this inexpensive set. All the youthful exuberance of the music comes through brilliantly in this interpretation, enhanced by the transparent texture of period instruments. Everything from tempi to dynamics is well-chosen and well-rendered, and nothing stands out as being out of place.

My only small criticism has to do with Huggett's propensity towards the languid, especially for passages or movements requiring what Mozart himself aptly called "fire." This is most noticeable in the cadenzas for fast-tempo movements: much of the material she builds is too sleepy for the irruent nature of the movements themselves. So, instead of sounding like a witty punchline, the cadenza comes across more like a farewell speech. (Mozart left no written cadenzas for these concerti, so these have to be improvised or composed by the performer.)

Still, this is a relatively minor point and it does not take away from the fact that this interpretation is very good, and I would not hesitate buying it again.

This is the only set I have of the Violin Concertos. I love this set. For the price you can't beat it.