Mozart: Violin Concerto No. 5 in A Major, K. 219 (reference rec.: Arthur Grumiaux, Sir Colin Davis)

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@classicalmusicreference 15 күн бұрын

Full Album available // Mozart: The 5 Violin Concertos by Arthur Grumiaux 🎧 Qobuz (Hi-Res) cutt.ly/ww535AKr Tidal (Hi-Res) cutt.ly/kw536yNX 🎧 Deezer (Hi-Fi) cutt.ly/Dw536bLX Amazon Music (Hi-Res) amzn.to/3tZ8Lm4 🎧 Apple (off), Spotify (off) KZbin Music (mp4) cutt.ly/FeNkeOg1 🔊 Download the album (Hi-Res MASTER - WAV uncompressed) cutt.ly/Classical-Music-Reference-Recording-Website-Mozart-Grumiaux Wolfgang Amadeus Mozart (1756-1791) Violin Concerto No. 5 in A Major, K. 219 00:00 I. Allegro aperto (2024 Remastered, London 1961) 09:31 II. Adagio (2024 Remastered, London 1961) 19:13 III. Rondeau: Tempo di minuetto (2024 Remastered, London 1961) Violin: Arthur Grumiaux London Symphony Orchestra Conductor: Sir Colin Davis Recorded in 1961, at London New mastering in 2024 by AB for CMRR 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ Support us on Patreon www.patreon.com/cmrr/about Violin Concerto No. 5 in A Major (K. 219), was completed in December 1775. It is the most famous of Mozart's violin concertos, the one that comes closest to perfection in terms of grace, spirit, and breadth. It is also the most original in terms of form. The first movement and the finale abound in "effects of surprise," such as the continual transition from sweetness to elegance, and from elegance to joviality. The andante, marked by great simplicity, is the most beautiful of Mozart's slow movements with a sorrowful character. The rondo is one of the most original: its main theme, a solemn minuet, is interrupted by a spirited Hungarian-style dance and a piece in the Turkish taste, which was very popular in Vienna at the time. Notes by Lindsay Kemp: "Mozart’s period of devotion to the violin concerto was a short one; after 1775, he produced no more in the remaining 16 years of his life. Subsequent concertos included examples for horn, oboe, flute, clarinet, and, most gloriously, piano, but the violin never occupied him again in this regard. By any standards this is regrettable, but it appears even more so in the light of the considerable beauty and all-round compositional skill shown by the fifth and last of the violin concertos, a work that seems to pull together many of the best qualities of its predecessors. Completed on 20 December 1775 - only two months after the fourth - the fifth is a work that, while being perhaps the most technically demanding of the violin concertos, combines radiant warmth with sprightly humour, and violinistic athleticism with sublime poetry. Conceived on a notably larger scale, too, it has the look of a new stage of development, so how strange it is that, at the age of 19, Mozart should here be writing his last concerto for violin. How, too, one could wish for just a few more! That this is a concerto not to be hurried is soon established. Thematically speaking, the opening is surprisingly unassertive, with the orchestral violins striding out lightly over a quivering accompaniment, but without anything that strikes the listener as a theme as such. Even more unexpected is the way in which the soloist emerges: six bars of pensively soaring adagio over a murmuring accompaniment, eventually bursting out into a new theme full of swaggering self-confidence and revealing the opening to have been an accompaniment in search of a tune. Note, too, how the little upward sweep that ends the first orchestral section is taken up for development later in the movement. The tempo marking, incidentally, is one that Mozart seems to have been almost the only composer to use: the Italian word aperto can be translated variously as "open," "bold," "clear," or "frank." The slow movement is longer than those of the other violin concertos of 1775, but its effortless beauty never wavers. There is little dialogue, just a serenely drawn and effortlessly touching melody for the solo violin, with the orchestra supplying the most loving of accompaniments. The concerto finishes with a "rondeau" in which returns of the opening theme are interspersed with contrasting episodes. As in the finale of the fourth concerto (and the third before it), Mozart takes the opportunity here to introduce an element of humorous impersonation. In the earlier works, this took the form of bagpipe-and-drone effects, but here it is an exhilarating excursion into what is usually called "Turkish" music. In fact, this style-evoked with exaggerated melodic leaps, pounding rhythms, and col legno effects (hitting the strings with the wood of the bow) in the cellos and basses-owes more to Hungarian gypsy music than to the Ottomans, but for most Europeans of Mozart’s time its exoticism would have seemed Turkish enough. That Mozart himself borrowed some of this section from music he had written for a ballet entitled La gelosie del Seraglio (The Jealousy of the Harem) confirms how he saw it; the reason behind this apparent musical joke, however, remains a mystery." Other Album available // Mozart: The Violin Sonatas Arthur Grumiaux 🎧 Qobuz cutt.ly/zeNjVU4Q Tidal cutt.ly/reNjVLas 🎧 Apple Music cutt.ly/AeNjV4hB Deezer cutt.ly/meNjBdBL 🎧 Amazon Music cutt.ly/1eNjBL2G Spotify cutt.ly/5eNjB6Hp 🎧 KZbin Music cutt.ly/MeNjNafH SoundCloud cutt.ly/leNjNxxW Wolfgang Amadeus Mozart PLAYLIST (reference recordings): kzbin.info/www/bejne/d4WpmWions-FisU

@classicalmusicreference 15 күн бұрын

Violin Concerto No. 5 in A Major (K. 219), was completed in December 1775. It is the most famous of Mozart's violin concertos, the one that comes closest to perfection in terms of grace, spirit, and breadth. It is also the most original in terms of form. The first movement and the finale abound in "effects of surprise," such as the continual transition from sweetness to elegance, and from elegance to joviality. The andante, marked by great simplicity, is the most beautiful of Mozart's slow movements with a sorrowful character. The rondo is one of the most original: its main theme, a solemn minuet, is interrupted by a spirited Hungarian-style dance and a piece in the Turkish taste, which was very popular in Vienna at the time. Notes by Lindsay Kemp: "Mozart’s period of devotion to the violin concerto was a short one; after 1775, he produced no more in the remaining 16 years of his life. Subsequent concertos included examples for horn, oboe, flute, clarinet, and, most gloriously, piano, but the violin never occupied him again in this regard. By any standards this is regrettable, but it appears even more so in the light of the considerable beauty and all-round compositional skill shown by the fifth and last of the violin concertos, a work that seems to pull together many of the best qualities of its predecessors. Completed on 20 December 1775 - only two months after the fourth - the fifth is a work that, while being perhaps the most technically demanding of the violin concertos, combines radiant warmth with sprightly humour, and violinistic athleticism with sublime poetry. Conceived on a notably larger scale, too, it has the look of a new stage of development, so how strange it is that, at the age of 19, Mozart should here be writing his last concerto for violin. How, too, one could wish for just a few more! That this is a concerto not to be hurried is soon established. Thematically speaking, the opening is surprisingly unassertive, with the orchestral violins striding out lightly over a quivering accompaniment, but without anything that strikes the listener as a theme as such. Even more unexpected is the way in which the soloist emerges: six bars of pensively soaring adagio over a murmuring accompaniment, eventually bursting out into a new theme full of swaggering self-confidence and revealing the opening to have been an accompaniment in search of a tune. Note, too, how the little upward sweep that ends the first orchestral section is taken up for development later in the movement. The tempo marking, incidentally, is one that Mozart seems to have been almost the only composer to use: the Italian word aperto can be translated variously as "open," "bold," "clear," or "frank." The slow movement is longer than those of the other violin concertos of 1775, but its effortless beauty never wavers. There is little dialogue, just a serenely drawn and effortlessly touching melody for the solo violin, with the orchestra supplying the most loving of accompaniments. The concerto finishes with a "rondeau" in which returns of the opening theme are interspersed with contrasting episodes. As in the finale of the fourth concerto (and the third before it), Mozart takes the opportunity here to introduce an element of humorous impersonation. In the earlier works, this took the form of bagpipe-and-drone effects, but here it is an exhilarating excursion into what is usually called "Turkish" music. In fact, this style-evoked with exaggerated melodic leaps, pounding rhythms, and col legno effects (hitting the strings with the wood of the bow) in the cellos and basses-owes more to Hungarian gypsy music than to the Ottomans, but for most Europeans of Mozart’s time its exoticism would have seemed Turkish enough. That Mozart himself borrowed some of this section from music he had written for a ballet entitled La gelosie del Seraglio (The Jealousy of the Harem) confirms how he saw it; the reason behind this apparent musical joke, however, remains a mystery." Other Album available // Mozart: The Violin Sonatas Arthur Grumiaux 🎧 Qobuz cutt.ly/zeNjVU4Q Tidal cutt.ly/reNjVLas 🎧 Apple Music cutt.ly/AeNjV4hB Deezer cutt.ly/meNjBdBL 🎧 Amazon Music cutt.ly/1eNjBL2G Spotify cutt.ly/5eNjB6Hp 🎧 KZbin Music cutt.ly/MeNjNafH SoundCloud cutt.ly/leNjNxxW

@nelsondiaz7200 4 күн бұрын

Tienes un extenso conocimiento de este concierto de violín y orquesta mi favorito de Mozart.Talvez podrías instruirme del concierto de Arpa y oboe que es bellísimo.

@SergijRatusnij 15 күн бұрын

Cool music. Freedom for my soul and my mind

@davidstecher1171 15 күн бұрын

A wonderful performance! 😊 It's a great pity that the today's performers aren't focusing on listening as it used to be for making and playing wonderful music! 😎 Thank you for "bringing" it for us back in its all beauty. 👍👍👍

@notaire2 15 күн бұрын

Lebhafte und wunderschöne Interpretation dieses perfekt komponierten Konzerts mit seidigem doch gut phrasiertem Ton der unvergleichlichen Solovioline sowie gut harmonisierten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der dritte Satz echt lebhaft und auch elegant. Der intelligente und geniale Dirigent leitet das ausgezeichnete Orchester im rhythmischen Tempo und mit künstlerisch kontrollierter Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine Originalaufnahme von dreiundsechzig Jahren vor. Alles ist wunderbar!