Mozart: Sinfonia Concertante

Competent and entertaining. Excellent sound quality. Kreizberg does Mozart in a sort of romantic way (I first heard him in a Los Angeles Phil program including a Mozart piano concerto; romantic style also). But he does it quire well, one does not mind. Fischer and Nikolic go along with the game plan. A nice disk.

I've been bothered by the same features pointed out by reviewer J. Scott Morrison, but less in the Sinfonia Concertante than in the Concertone (which I would certainly NOT call a "fairly negligible piece": a Triple, and even, thanks to the addition of an obligato cello, a Quadruple Concerto in all but name, it is a marvellous composition). There is a little too much resonance and thickness on the strings, making the Netherlands Chamber Orchestra sound like a larger orchestra than it probably is, and losing not only some of the music's Serenade-like intimacy and timbral character, but also some of its jubilant explosiveness in the first movement. In the "Andantino grazioso", the obligato cello first doesn't sound at all like an added solo instrument but as a plain orchestral section, and it is only at 4:19, in its dialogue in triplets with oboe, that the solo cello seems used; the wonderful little solo of horns at 6:31 in the same movement is also hardly audible, and the music loses some of its wonderful character.An absurd decision was to have a continuo harpsichord play in the orchestral introductions of all three movements and in the Finale's coda: it isn't written and it is doubtful that it was done in Mozart's time, plus the instrument is recorded so dimly that you can hardly hear it (just vague clanging punctuations), so why bother?As J. Scott Morrison noted, it isn't just when he's playing the viola that Nikolic has a somewhat grainy and nasal tone, lacking in luminosity, making his dialogues with Fischer in the Concertone sound like a duet of Soprano I and Soprano II rather than of two Soprano Is. It might have been an acceptable option, but, other than the fact that the timbral characteristics of both instruments don't really match, there are spots where Nikolic's timbre is on the verge of being unpleasantly nasal (7:04 into the "Andantino grazioso" for instance).But then, whatever these sonic or timbral glitches, Kreizberg and his soloists offer a winning performance in the Finale of Concertone and the two outer movements of Sinfonia Concertante, thanks to their dynamic tempos and jubilant music making. Not that the Finale of Sinfonia Concertante really stands out in that respect: it is suitably lively and exuberant, but no more than any good standard version (Oistrakh paced it alike in 1972,  Mozart: Sinfonia Concertante, KV 364 in E Flat Major, Concertone KV 190 in C Major, Adagio KV 261, Rondo KV 269 , and was even more lively in 1960 with Barshai,  David Oistrakh Plays Doubles  - to say nothing of Heifetz,  Double Concerto ). But the first movement does: these are not quite the tempi of Heifetz, but they go in that direction, and the result is wonderfully lively. As for the Finale of Concertone, there is a puzzling contradiction in Mozart's indication for it: "Tempo di Menuetto", which seems to point to a rather pedestrian pacing (the menuetto was no rock-and-roll, but an elegant aristocratic dance), to which he adds "Vivace". A certain interpretive tradition (Oistrakh for instance, but also Jaap Schröder leading the Smithsonian Chamber Orchestra on period instruments in 1986,  Mozart Edition Vol. 1: Sinfonia Concertante K. 364 & Concertone K. 190 ) has clearly favored the Menuetto and disregarded the "vivace"; hearing Kreizberg shows how much more lively, effective and exciting a true Vivace is. This IS rock and roll after all - 18th century version of it.The Sinfonia Concertante can also take the "grand concerto" sonic perspective better than the Concertone, and the orchestral horns and oboes do come out with sufficient character. In the middle "Andante" as well, although the performers take it, as is custom, slower than what Mozart's tempo indication seems to imply (it is the same tempo as Harnoncourt,  Mozart: Sinfonia Concertante, Violin Concerto, Kremer, Kashkashian ), the music can do with that kind of romanticizing of textures and emotions, pushing the Sinfonia in the direction of those later compositions best-loved by the Romantic generation, Don Giovanni and the Requiem; Kreizberg does that very well (just listen to the dynamic swells at 0:27), and the two soloists develop fine pathos, especially in the cadenza. But go to Heifetz to hear the emotional turbulence conveyed by a true "Andante".Not an unqualified endorsement, then. Mainly because Nikolic isn't a top-rate partner, and because of the sonic and interpretive shortcomings in the Concertone, there are better offerings of these two works.

If I didn't already know Mozart's glowing Sinfonia concertante for violin and viola, I could easily have missed the entry of the soloists. Julia fischer and her partner, Gordan Nikolic, are miked very differently from any other version I've heard, being placed in the thick of the orchestral sonority so that they blend in instead of standing out front and center. was this deliberate? As Scott Morrison points out, such a perspective is more true to the concert hall. There might be another reason. In Baroque concertante style, the solo group usually merges with the whole ensemble in the ripieno or tutti passages. Maybe the engineers or performers in this recording want to achieve that effect.In any case, Fischer and Nikolic, vary from the traditional virtuoso soloists (as in my old EMI recording with David and Igor Oistrakh) in ot grabbing the limelight. Their playing is elegant and sonically recessed - either you'll like it or you won't. Previous reviewers seem to have split down the line. I was completely engaged, and no small part was played by Yakov Kreizberg's warm, buoyant accompaniment. The late russian conductor rose with the young Fischer and the PentaTone label. Here he delivers some of his most appealing work, abetted by lovely recorded sound.I first heard the bright, engaging Concertone K. 190 on an LP from the Marlboro Festival that I can't locate on CD. As a previous reviewer notes, the solo instruments are actually four: two violins, oboe, and cello. Hence the name "big concerto" (Concertone in Italian), I suppose. enjoyable as the work is, the musical quality doesn't quite match Mozart's other two concertante works, the famous one for violin and viola and the less well known one in E-flat for four winds. That Kreizberg and his soloists give romantically expressive - but not excessive - readings appeals to me. In all, if it weren't for the odd miking of the major work, this Cd would deserve an unqualified recommendation.

One caveat - I have only heard the recording on a car stereo. However, this is a piece I love and know and I have never heard it recorded so well. Like much of Mozart's work the composition itself represents an ideal that reality can scarcely measure up to. But this performance seems to measure up. First of all, the two soloists really agree on the style and sound of the piece. The intonation is perfect. The tempos are lively and never slow down for technically difficult passages. The orchestra features divisi violas that you can actually hear. The first movement, with some of Mozart's richest intellectual content, is fun to listen to - you enjoy it, not admire it. The slow movement, so tragic in its content, is not self-indulgent or maudlin in its performance. The third movement, the "dessert" of this concerto, is brilliantly performed, up to and including the risky arpeggios leading up to four high notes that end the third movement for both soloists. Highly recommended.

Top notch performance!!!!

Julia Fischer et son complice Yakov Kreizberg achèvent leur intégrale des concertos pour violon et orchestre de Mozart en nous livrant deux oeuvres assez rares au catalogue.Avec Gordan Nikolitch à l'alto, elle rend ses lettres de noblesse à la symphonie concertante KV 364 pour violon et alto. Les deux solistes, qui font preuve d'une technique sans faille (toujours cette absence de vibrato qui caractérise tant d'autres interprétations) nous offrent un réel dialogue dans cette oeuvre du jeune Mozart soutenus par une Orchestre de Chambre des Pays-Bas au maximum de ses possibilités techniques, rendant à l'oeuvre sa fantaisie et son naturel enjoué. Les deux solistes poursuivent dans le Concertone pour deux violons KV 190 souvent joué avec une réelle indifférence en lui rendant un relatif côté festif.Un album qui conclut d'une très belle façon l'intégrale des oeuvres pour violon et orchestre de Mozart entreprise par Julia Fischer.

Un gout de Paradis... Interprétation sensible et équilibrée entre le violon et l'alto dans la Sinfonia Concertante. Qualité de l'enregistrement parfaite.

On connait beaucoup d'interprétations de la symphonie concertante. Celle ci n'est peut-être pas la version de référence(à mon avis, augustin dumay et veronika Hagen), mais Julia Ficher est la seule qui semble s'amuser(et communiquer son entrain). Bref ceux qui aiment cette oeuvre doivent posséder cet enregistrement, d'autant plus qu'il surpasse techniquement tous les autres grâce à la technique SACD.

VnとVlaによる協奏交響曲ですが、ひと昔前の演奏では名演といわれるものでもVlaは表現力は十分でも音程や細部の表現にには不安を感ずることもありました。しかしコンクール等で演奏技術レベルが高まった現代では、ここに聴かれる演奏のように音程も細部の演奏のメカニックの技術もしっかりしていて、Vnをささえる柔軟性がもう少しほしいというのは望みすぎでしょうが、ともあれ立派な演奏と感じました。Vnは収録・編集の方法にもよるのでしょうが、音が繊細なうえに音量も表現も控えめで、モーツアルトとはいえ、もうすこし押し出しのある演奏を望みたいところです。J.フィッシャーは演奏会でも聴く機会がありませんでした。他の曲もきいてみたいと思いますが、我が国のVn界の若手が素晴らしいので比較してしまいます。　この指揮者の演奏はあまり聴いていませんが、のびのびとしたモーツアルトの感じではなく、きちっとしていますが少々硬い感じです。Vn, Vlaを抱え込んでのびやかに演奏させる、掌の広さがほしいと思いました。彼は数々の有名オーケストラを指揮しましたが、惜しいことに51歳の若さで、モンテカルロ・フィルハーモニー管弦楽団首席指揮者時代にモナコで亡くなっています。兄はセミヨン・ビシュコフですが、兄と比較されるのを避けるために母親の旧姓を名乗っていたそうです。　PentaToneレーベルはPhilipsレーベルの数多くの名演・名録音を見事なdigital transferでSACD/CD hybridとしてよみがえらせました。PentatoneのDDDを初めて聴くためにこのSACD/CD hybridを購入しました。この盤のS/N比は良好、周波数レンジが広く、切れの良いdigital録音です。細部まで良く聴こえるように残響は控えめに収録されています。再生システムの条件にもよりますから何ともいえませんが、ステレオ感は左右、前後、天井の高さなど、もう少々広々とした感じがほしいと思いました。Dynamic rangeは広いのですが、テュッティで音が汚れ気味で、ぬけが良くありません。再生システムのせいかと思って種々検討しましたがそうではなさそうです。Vn, Vlaの収録は各一本のmicrophoneを立てて、左右チャンネルに割振ったのではないかと思われるほどソロ楽器の位置に左右も前後も動きが少ない感じです。ソロ楽器のステレオ感については他のPentaTone DDD SACD/CDも聞いて比べてみたいと思っています。