Mozart - Sinfonia Concertante · Concerto for violin, piano & orchestra / Midori · Imai · Eschenbach

Editorial Reviews
Amazon.com
An all-Mozart program, played by artists of the highest caliber, is always interesting, but this is a strange recording; it seems to focus on innovation. Even the Sinfonia Concertante, a familiar masterpiece, beloved especially for its incomparably beautiful, heartbreaking slow movement, is given a supposedly new twist: Nabuko Imai plays her part with the viola tuned a half-step higher. However, this is how Mozart wrote it, for greater technical ease and a more brilliant sound, and though many violists prefer the normal tuning, it is not a novelty. Moreover, Midori asserts that matching the retuned viola required changes in her own fingerings, but the part is so difficult that the choice is very limited. Besides, the two soloists primarily engage in conversation, coming together only at strategic, intense moments and in Mozart's own cadenzas, so the differences are not apparent to the naked ear. The playing on all hands is brilliant and expressive, though rather fussy, with a lot of artificial dynamic changes and echo effects.

The other concerto is a "reconstruction" by Philip Wilby (who is not further identified in the booklet) of a 120-bar fragment he believes Mozart planned to use for a violin and piano concerto, along with material from a Sonata for the same instruments he had written shortly before, now known as K. 306. Wilby actually composed a rather long first movement based on Mozart's fragment and simply orchestrated the second and third movements of the Sonata. Unfortunately, Mozart's fragment seems undistinguished melodically, harmonically, and rhythmically, and Wilby's "completion" is naturally rather primitive, with some happy moments and some unhappy modulations. The Sonata, on the other hand, was Mozart's first great work in that form, and the contrast between the "real" and the "reconstructed" Mozart proves that his style can be imitated but not reproduced. Again, the performance by all concerned is excellent. --Edith Eisler

Mozart - Sinfonia Concertante · Concerto for violin, piano & orchestra / Midori · Imai · Eschenbach, Music, Wolfgang Amadeus Mozart, Christoph Eschenbach, Midori (Goto), Nobuko Imai, Classical, Classical Composers, Classical Music, Orchestral & Symphonic

Average customer rating:

Genteel and Dignified Performances

Warm and bright Mozart !

Original, both for and against

Viola "Scordatura" Blew Me Away

This is pure art...

Mozart - Sinfonia Concertante · Concerto for violin, piano & orchestra / Midori · Imai · Eschenbach
Wolfgang Amadeus Mozart , Christoph Eschenbach , Midori (Goto) , and Nobuko Imai
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005LNGU
Release Date: 2001-06-26

Tracks:

Sinfonia Concertante in E-flat Major, K. 364/320d: Allegro maestoso
Sinfonia Concertante in E-flat Major, K. 364/320d: Andante
Sinfonia Concertante in E-flat Major, K. 364/320d: Presto
Concerto in D Major for Violin, Paino and Orchestra: Allegro
Concerto in D Major for Violin, Paino and Orchestra: Andantino cantabile
Concerto in D Major for Violin, Paino and Orchestra: allegretto

Amazon.com

An all-Mozart program, played by artists of the highest caliber, is always interesting, but this is a strange recording; it seems to focus on innovation. Even the Sinfonia Concertante, a familiar masterpiece, beloved especially for its incomparably beautiful, heartbreaking slow movement, is given a supposedly new twist: Nabuko Imai plays her part with the viola tuned a half-step higher. However, this is how Mozart wrote it, for greater technical ease and a more brilliant sound, and though many violists prefer the normal tuning, it is not a novelty. Moreover, Midori asserts that matching the retuned viola required changes in her own fingerings, but the part is so difficult that the choice is very limited. Besides, the two soloists primarily engage in conversation, coming together only at strategic, intense moments and in Mozart's own cadenzas, so the differences are not apparent to the naked ear. The playing on all hands is brilliant and expressive, though rather fussy, with a lot of artificial dynamic changes and echo effects.

Customer Reviews:

Genteel and Dignified Performances .......2005-07-16

The 'Sinfonia Concertante in E-flat Major, K 364/320D' is one of those refined works that is so well written that it exudes genius. Composed for violin, viola, and orchestra the work is a conversation with the two instruments with a beautifully woven tapestry of comment for the orchestra. Violinist Midori and violist Nobuko Imai are not only well paired in technique and virtuosity, they find a compatibility of discourse that is refreshingly fine. Christoph Eschenbach conducts the Norddeutscher Rundfunk Sinfonieorchester with grace and sensitive collaboration. The work is a complete success.

The Philip Wilby reconstruction of the accompanying concerto for violin and piano is a fine little piece, if not in the same realm as the Sinfonia Concertante. The performance of this uneven work makes up for the inconsistencies that arise when sonatas are adapted for orchestra. Midori again focuses on her pliant, clear technique and is matched by Christoph Eschenbach's piano role as well as his conducting. It is a minor work played in a major manner. The recorded sound is clean and resonant and the CD is well worth placing in every Mozart lover's library. Grady Harp, July 05

Warm and bright Mozart ! .......2005-02-08

This CD is a wonderful recording of two wonderful Mozart pieces. Discovering this CD was for me a true revelation. The Allegro Maestoso of the Sinfonia Concertante is both powerful and transporting. When you listen to it, you're move by it. You raise up in the sky each time the orchestra's strings raise. And, the performance of Midori and Nobuko is delicious, both precise and sentimental(It's a hard, but beautiful, combination !). Then come the Andante, with one of Mozart most emotional theme, amazingly played by Midori and Nobuko. The orchestra is warm and bright on all the CD, especially on the third movement, the Presto, where Mozart show us how joyful his music can be.

The Piano & Violin Concerto was another revelation for me. Christoph interpretation of this concerto is very nice, precise but warm. The percussion (surely added by Philip Wilby) are very nice also. It add another dimension to the concerto. The orchestra sound is very well balance with the piano sound. In fact, sometimes, you forget it's a concerto, because the piano become a real part of the orchestra, along with the Midori Violin.

This CD is very well-presented and the booklet is interesting. The recording is clear, bright and warm. Everything is set for an amazing hour of Mozart genious music !

Patrick

Original, both for and against.......2004-11-26

New ideas is certainly the theme of this recording, especially in the Sinfonia Concertante. Having the viola part in two sharps is more indicative of a Baroque inclination, as is some of the articulation choices, and yet in sound the soloists are more in high gear - providing an interesting combination of musical colors.
A real contribution of this recording is the idea and execution of phrases being half with the soloists and continuing into the orchestral tuttis.
What is slightly missing, perhaps, is the grace and humor of Mozart - a sacrifice made for the energy and exuberance of the recording.
The piano-violin work is lighter and a good balance to the concertante, though the reconstructed later movements don't have the magic of the more original first.

Viola "Scordatura" Blew Me Away.......2003-01-28

I was blown away by this new recording of Mozart's Sinfonia Concertante in E-flat Major for violin, viola and orchestra. The viola part in this piece has always moved me, but never to the degree of this version. Reading the liner notes I learn that Mozart's manuscript instructions call for the scordatura (literally, the "mistuning") of the solo viola. The part is written in D Major, but the viola's strings are tightened and tuned a half not higher, to E-flat, giving the instrument extra brightness and greater projection. In this recording it gives the solo viola a unique sound and brilliance of its own. The soloist, Nobuko Imai is quoted in the liner notes as saying that the mistuning gives her instrument "another dimension," and the added tension allows her to achieve notes "with so much less force, and yet with greater security."

I suppose the lesson is that it makes sense to follow the composer's instructions on the manuscript.

This is pure art..........2002-05-22

This is a very good version of (in my opinion it is pure art) Sinfonia Consertante in E-flat major, K. 320d/364 version.

By the way... about Amazons review... THIS CONCERTANTE IS MEANT to be played "mistuned" (meaning that violas strings are tightened and tuned a half tone higher, to give E-flat, instead of D-major).

Both Midori and Nobuko Imai plays wonderful on this disc and Sinfonia Concertante is very well conducted and played by Eschenbach and his NDR-Sinfonieorchester.

It is hard to describe but you people familliar with this work knows that suddenly you are in a beutiful viola part, in the first Allegro maestro, and on this disc it comes in a way I have never heard before... stunning, beutiful. Wonderful conducting from Eschenbach and beutiful, skilled played by Imai and Midori both lyrical, sensitive but at the same time distinct, forward moving.

This Concertante version is probably played by the way Mozart meant ("mistuned" :-) to have it and it is both classical AND "modern"- at the same time -and that gives me a special positive feeling about this disc.

About "Concert for Violin, Piano and Orchestra in D-major" it is a piece that also is excellent well performed and Eschenbach is def. a very talented pianoplayer.

This piece is by the way some halfway finished work from Mozart (reconstructed by Philip Wilby) but anyway this sounds like Mozart too me. It is a lovely piece too.

Record sound is stunning, marvellous and this disc music, performance and sound is simply pure art.

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