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mozart, wolfgang amadeus  -  Violin concertos 2 & 4; etc / maxim vengerov, lawrence power, ubs verbier festival orchestra

  • Format : CD

  • Etat général : original neuf
  • Etat pochette : S (?)
  • Etat disque : S (?)

  • Label : EMI 78374
  • Pressage : UPC/EAN: 094637837429 - EU
  • Année : 2007
  • Commentaire : Mozart: Violin Concertos No 2 & 4, Etc / Maxim Vengerov, Et Al Release Date: 0 ... Voir plus bas

  • Quantité disponible : 1
Commentaire du vendeur :
Mozart: Violin Concertos No 2 & 4, Etc / Maxim Vengerov, Et Al

Release Date: 04/03/2007
Label: EMI Classics Catalog #: 78374 Spars Code: DDD
Composer: Wolfgang Amadeus Mozart
Performer: Lawrence Power, Maxim Vengerov
Conductor: Maxim Vengerov
Orchestra/Ensemble: UBS Verbier Festival Chamber Orchestra
Number of Discs: 1
Recorded in: Stereo
Length: 1 Hours 19 Mins.
EAN: 0094637837429

Works on This Recording

1. Sinfonia concertante for Violin and Viola in E flat major, K 364 (320d) by Wolfgang Amadeus Mozart
Performer: Lawrence Power (Viola), Maxim Vengerov (Violin)
Conductor: Maxim Vengerov
Orchestra/Ensemble: UBS Verbier Festival Chamber Orchestra
Period: Classical
Written: 1779; Salzburg, Austria
Date of Recording: 08/2006
Venue: Metropole Hall, Lausanne, Switzerland
Length: 31 Minutes 59 Secs.
2. Concerto for Violin no 4 in D major, K 218 by Wolfgang Amadeus Mozart
Performer: Maxim Vengerov (Violin)
Conductor: Maxim Vengerov
Orchestra/Ensemble: UBS Verbier Festival Chamber Orchestra
Period: Classical
Written: 1775; Salzburg, Austria
Date of Recording: 08/2007
Venue: Metropole Hall, Lausanne, Switzerland
Length: 24 Minutes 24 Secs.
Notes: Maxim Vengerov performs his own cadenzas.
3. Concerto for Violin no 2 in D major, K 211 by Wolfgang Amadeus Mozart
Performer: Maxim Vengerov (Violin)
Conductor: Maxim Vengerov
Orchestra/Ensemble: UBS Verbier Festival Chamber Orchestra
Period: Classical
Written: 1775; Salzburg, Austria
Date of Recording: 02/2006
Venue: Henry Wood Hall, London
Length: 21 Minutes 54 Secs.
Notes: Maxim Vengerov performs his own cadenzas.

Notes and Editorial Reviews

MOZART Sinfonia concertante in E?, K 364. Violin Concertos: No. 4 in D; No. 2 in D • Maxim Vengerov (vn), cond; Lawrence Power (va); UBS Verbier Festival CO • EMI 78374 (78:52)

Julian Haylock's notes describe Maxim Vengerov's attempt throughout a year of rest from touring to explore and record Mozart's concertos. His goal of reconstituting the original “flavor” of the works, of viewing them from the “perspective” of the operas, might explain the dramatic way in which he opens the Sinfonia concertante; he explicitly states that he wanted the solo parts to emerge from the orchestral ones and therefore tried to effect an almost “imperceptible” transition from the tutti to the opening solos. Whatever operatic feeling the works may have acquired through this process, the solo instruments in the Sinfonia remain within the orchestral sound—the engineers certainly haven't brought them forward—but for their part, the soloists engage in chamber-like dialogue, not only in the intimate second movement but in the opening one (and especially in its cadenza) as well. He and Lawrence Power seem to achieve this conversation, sighingly poignant in the slow movement, at the expense of foreword motion (although the finale's lively enough)—Vengerov's conception of Mozart seems to hail from a different universe from Isaac Stern's early recording of the Third Concerto and from that of stylish period instrumentalists or modern instrumentalists following their lead (like Viktoria Mullova, on Philips 470292, Fanfare 26: 5). If other violinists have represented Mozart's brash, boyish side, Vengerov has found in him a sort of nostalgic holdover from the northern empfindsamer Stil.

The Fourth Concerto begins more sedately than it does in many readings; but the soloist's entry comes with all the fanfare its trumpet-like motive implies. Vengerov's passagework adds sparkle to this more somber approach. And Vengerov's cadenza goes exploring far afield from Mozart's own melodic and harmonic style. Vengerov addresses this seeming anomaly in Haylock's notes: his more complex writing in the cadenzas supposedly embodies his complex reactions to Mozart's music. The slow movement's melancholy songfulness provides ideal opportunities for Vengerov to linger. The courtly finale sounds elegant, and so does the first movement of the Second Concerto; in both, however, Vengerov takes—or creates—time to indulge in a tear of sensibility. Can this be the slashing Vengerov of the celebrated, adrenaline-laced early recordings of Shostakovich's violin concertos? If it's really the same violinist, his year of exploring Mozart must have worked a profound transforming effect. The slow movement of the Second Concerto represents perhaps the most suitable stage for Vengerov's magic show, and his reading of it delves into its layers of elegant sentiment. Like the Fourth Concerto's finale, the Second's fares well in Vengerov's reading.

I remember a review generations ago of Szymon Goldberg playing Mozart that described his approach as “walking on eggs.” Vengerov's might more fittingly be characterized as walking on meringue. There's no gainsaying his musicianship or technical aplomb (still evident in the virtuosic moments of the cadenzas), nor the ensemble's robust solidity, but Vengerov's interior way with Mozart may not strike a sympathetic chord in all audiences. Recommended principally (and almost exclusively) to those, therefore, who, appalled by Tom Hulce's portrayal of the composer, seek a kinder, gentler Mozart.

FANFARE: Robert Maxham


AllMusic Review by James Leonard [-]
Kind of sweet and kind of sexy, kind of sophisticated and kind of sentimental, the Mozart one encounters in this disc of his Second and Fourth violin concertos coupled with his Sinfonia Concertante by violinist Maxim Vengerov and the UBS Verbier Festival Chamber Orchestra is not the effortlessly elegant and sublimely graceful Mozart one usually encounters these days. With the faithful and attentive accompaniment of the youthful Swiss chamber orchestra, Vengerov's tone is warmer, his intonation is richer, his melodies are more expressive, and his self-composed cadenzas are much more romantic than is standard with current Mozart playing, and one gets the sense that Vengerov has so completely subsumed the music into his system that he entirely re-made it in his image. In other words, Vengerov doesn't play like he's re-creating the music; he plays like he's creating it; doesn't play like he is borrowing it, plays like he owns it. This doesn't mean these aren't attractive performances in their way. Alone in the Second and Fourth concertos and together with violinist Lawrence Power in the Sinfonia Concertante, Vengerov presents a Mozart who is less a Watteau than a Boucher, less an Audrey Hepburn than a Julia Roberts. If that sounds appealing, try this disc. EMI's digital sound is lushly detailed and amazingly tactile.
Mozarts Violinkonzerte sind für einen großen Virtuosen geschrieben – wahrscheinlich für Mozart selbst. Da sich der Klassiker in seiner Wiener Zeit nur noch dem Klavier zuwandte, wird oft vergessen, dass er einer der besten Geiger seiner Zeit war. Schon mit 14 Jahren wurde Mozart Konzertmeister in der Salzburger Hofkapelle. Maxim Vengerov sucht in den Konzerten vor allem die kammermusikalische Intimität. Maxim Vengerov: »Mozarts Musik beginnt da, wo Sprache versagt … Es gibt Gott, und es gibt Mozart.«



Norbert Hornig in FonoForum 04 / 07: "Insgesamt erscheint die Interpretation konsequent und schlüssig, der langsame Satz kommt zur Ruhe, das Presto hetzt nicht und erlaubt eine ganz bewusste, klare Artikulation. Auch die beiden D-Dur-Violinkonzerte wirken durch die gemäßigte Temponahme ruhig und unaufgeregt. Hat man sich auf Vengerovs Gangart einmal eingestellt, werfen seine Interpretationen durchaus ein neues Licht auf die viel gespielten Werke."

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