Mozart: Sinfonia Concertante, K. 364 / Concertone in C Major, K. 190 / Rondo in C Major, K. 373 Julia Fischer & Netherlands Philharmonic Orchestra

• Sinfonia concertante in E flat major, K. 364
• 1 I. Allegro maestoso 12:32
• 2 II. Andante 11:11
• 3 III. Presto 06:13
• Rondo in C major, K. 373
• 4 Rondo in C major, K. 373 (cadenza by J. Fischer) 05:58
• Concertone in C major, K. 190
• 5 I. Allegro spiritoso 08:23
• 6 II. Andantino grazioso 10:41
• 7 III. Tempo di menuetto: Vivace 08:23
• Total Runtime 01:03:21

Info for Mozart: Sinfonia Concertante, K. 364 / Concertone in C Major, K. 190 / Rondo in C Major, K. 373

Yakov Kreizberg launches the Sinfonia concertante in emphatic style: a no-nonsense tempo, lashing sforzando accents, a powerful forward impetus. Mozart's thrilling take on the slow-burn 'Mannheim crescendo' has an almost ferocious intensity, enhanced by the recording's wide dynamic range. Then, from their seraphic first entry, the octaves perfectly in tune, the two soloists balance fire and finesse in a true partnership of equals. So often in this work the violinist outguns the viola player in personality and technique. But not here. Gordan Nikolitch's rich, throaty viola beautifully complements Julia Fischer's silvery sweetness. Mozart would surely have relished their vital, gracefully finished phrasing and the way they respond creatively to each other. Rival performers, including Augustin Dtunay and Veronika Hagen (DG, 12/00), Gidon Kremer and Kim Kashkashian (DG, 12/84k) and Iona Brown and Nobuko 'mai (Philips), are more responsive to Mozart's maestoso marking and more flexible in their shaping of the lyrical melodies. Once or twice, as in the C minor theme at 252', Fischer and Nikolitch can slightly gloss over the music's pathos. But the sweep, elan and sheer technical aplomb of their playing are certainly compelling.

Again, Fischer and Nikolitch use rubato sparingly in the C minor Andante, a transfigured love duet triste. Abetted by Kreizberg, they focus on the longer line, phrasing in broad, eloquent paragraphs and catching more than most an underlying agitation. The finale mingles grace and athletic exuberance, with the players vying delightedly in their bouts of bravura. Though the recording, made in a large church, is a tad boomy, this ranks high among modern recordings of this inexhaustible masterpiece. As light relief, we also get Fischer's puckish reading of the Rondo, K373, and a sprightly, occasionally (in the finale) impetuous performance of the innocuously charming Concertone, K190, where oboist Hans Meyer fully matches his violinist accomplices in wit and flair. (Richard Wigmore, Gramophone)

“In the Sinfonia – one of Mozart’s first masterpieces, written in 1779, on the threshold of his entrance into the pantheon of genius – soloists, orchestra and conductor emphasise the majestic, symphonic dimensions of the opening movement, and they duet rapturously like operatic lovers in the sublime Andante. If you have the solo concerto discs, you won’t want to miss this” (Sunday Times)

Gordan Nikolic, Violin
Julia Fischer, Violin
Hans Meyer, Oboe
Herre-Jan Stegenga, Cello
Netherlands Chamber Orchestra
Yakov Kreizberg, Conductor

No biography found.

This album contains no booklet.