Customer Reviews

Mozart: The 5 Violin Concertos

5 star:		(4)
4 star:		(0)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

What a difference is this recording to his earlier one (Brilliant Clasics, 1997, Il Quartettone, Carlo de Martini). The earlier was dull and almost boring, so I was a bit worried about this one but since I am a great fan of Carmignola I thought I give it a try. How good that I did. Here the concerti sound refreshingly new, beautifully played and obviously very much in harmony with both, conductor's and artist's view (which seem to go back for a long time according to the booklet). As simple as these concertos sound as difficult it is to play them to sound like this (I tried myself). Here it is beautifully performed by orchestra and soloist(s), sound is very well balanced. Highly recommended.

It is wonderul that such a seasoned and experienced conductor such as Claudio Abbado has found something fresh to bring to the Original Instrument scene. His new 'Orchestra Mozart' is simply stunning. The two titles available now, the five Violin Concertos with the Sinfonia Concertante, as well as Sym. 29, 33, 35, 38 and 41 are amongst the best Mozart I've ever heard. Phrases are shaped but not clipped, lean but not emaciated. Tempos are quicker than we've been used to in this rep (except with some of the more radical HIP conductors), but fit the overall conception of each piece. Violinist Giuliano Carmignola plays with little vibrato but a wonderfully sweet tone and perfect intonation. His grasp and vision of the music fits well with Abbado's. I still love Stern and Grumiaux, as well as Mustonen and Manze, but these new performances are top drawer. The Sinfonia is among the best available as well, particularly the entracing C minor Andante. The booklet contains a very interesting interview with Carmignola, a name I was unfamiliar with until now. And Abbado - what can you say about the greatest living conductor. His sytlistic re-birth into a new way to hear this music (call it 'post-HIP') is nothing short of inspirational, especially with one already so mature and confident in his vision. Whatever rep he conducts these days always seems just right in his hands, and his dedication to a full realization of the composer's intentions is beyond criticism (and I'm not just talking about his inclusion of a composer's specified repeat). It goes without saying that the sonics are superb (listen to the hushed pianissimo in the Andante to Sym K201). You must obtain both these releases.

I am a big fan of this violinst . I purchased almost all of his recordings from Amazon. I also purchased his earlier recording of exact composition. This new recrding is exatly I would like to hear Mozart....with personality of a Baroque player. The old recording with another conductor was not very good...dead and boring. In contrast, this recording is colorful, alive and happy. In addition, the recording technology probably is better in the new one (subject of this review)

The sound is clear and the style is conversational. My husband does like it saying that the violinst is not playing the Ramanitc style that Mozart intended, but I like Mozart Barouque style better.

While I enjoyed the performances (on period instruments)of the Mozart Violin Concerti and Symphonia Concertante, I did not find them particularly inspiring or arresting. Giuliano Carmignola, a name previously unfamiliar to me, plays the music in a lively and efficient enough fashion. However his tone and interpretive style has not left any lasting positive impression.

The orchestral playing under the direction of Claudio Abbado is alert and vital. The recorded sound, while generally satisfying, tends to harshness on occasions and is lacking in a clear bass response. For a complete set I still remain loyal to the vintage Grumiaux /Davis set on Phillips.

The two five-star reviews here seem familiar with the career of Giuliano Carmignola, but all I know is that he serves as concertmaster for Abbado's new Italian ensemble, the Orchestra Mozart of Bologna. Presumably these are live concert recordings of th five Mozart violin concertos, plus the sublime Sinfonia Concertante for violin and viola (with added soloist Danusha Waskiewicz). This 2-CD set at a bargain price is the companion to a similar twofer of Mozart symphonies from Abbado. But here the style is more period-flavored. I think anyone listening blind, in fact, would assume that the conductor was Gardiner, Norrington, or any number of HIP specialists.

I'm no fan of that style, but these readings are lively and infectious. None of the Mozart violin concertos rises to the tank of his masterpieces for piano, so giving them a brisk, elegant run doesn't strip away the patina of genius. Carmignola also plays like a period soloist; his tone is a bit zingy to my taste, but his intonaiton is dead on pitch. Everything goes along bright and sparkling, which gets tiresome, but that no doubt is a minority opinion. The Sinfonia Concertante is almost off-handed as it zips along, and here I feel a serious loss, becasue this music deserves more. The first movement is nerve-racking in its impatience, and the Finale, conducted one to a bar, disappears before you know it.

In all, I'll give three stars in full recognition that enthusiasts for HIP performances will think that's far too stingy.

The music is tight. Great violin work from Carmignola, Abbado's conducting is always delightful. He gives Mozart's concertos the same intensity he would when performing Vivaldi's concertos. Highly recommended

It is sad to see the former Conductor of the Berlin Philharmonic now running with the period-practice wolf-pack - and to no vivid end. What a degrading spectacle! What has happened here? Is Uncle Claudio trying to impress Sir Roger of Norrington or secure an invitation to one of Nicky Harnoncourt's infamous pool parties? It's like Ionesco's Rhinoceros but in a lupine form. And like so much of his discography, Abbado continues to bore the pants off everyone. Mister Personality he ain't.

These performances of Mozart's violin concertos might be ideologically sound (the bulges in the melodic line, the eschewal of overt romanticism and the clipped phrasing) but they are sterile and therefore unmemorable. Any concertmaster in the antipodes could mirror the virtuosity of the soloist - in his grim determination to tick all the period-practice boxes, Carmignola forgets to demonstrate that he has something unique to say in a congested field. The Third Concerto in particular is bloodless.

The Sinfonia Concertante - one of the greatest creations in Western Civilisation - is miniaturised in their hands. It is almost indictable.

Productions such as these are typical of the cash-strapped Deutsche Grammophon of today: use a scratch or a 'youth' orchestra and record them in live concerts; to make it all seem legit, throw in a well known conductor. If soloists are involved, they must be photogenic. Yep, it's as phony as they come.

To even think that this cycle comes anywhere near the musicality of the Grumiaux is to laugh Mozart: Violin Concertos (Complete). And dare one mention Oistrakh with the Berlin Philharmonic in K 364? Mozart: Sinfonia Concertante, KV 364 in E Flat Major, Concertone KV 190 in C Major, Adagio KV 261, Rondo KV 269

If you must have period-practice, there is always the Standage Mozart: Violin Concertos or the Huggett Mozart: Violin Concertos. In both instances, you know what you're getting.

Oh, hear the wolves howl!