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Album Savings: £6.73 compared to buying all songs
- Original Release Date: 10 Nov 1997
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
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| Disc 1: | |||||
| Song Title | Time | Price | |||
|---|---|---|---|---|---|
| Play | 1. Violin Concerto No.1 in B flat, K.207 - 1. Allegro moderato | 6:52 | £0.79 | ||
| Play | 2. Violin Concerto No.1 in B flat, K.207 - 2. Adagio | 7:35 | £0.79 | ||
| Play | 3. Violin Concerto No.1 in B flat, K.207 - 3. Presto | 5:04 | £0.79 | ||
| Play | 4. Violin Concerto No.2 in D, K.211 - 1. Allegro moderato | 8:49 | £0.79 | ||
| Play | 5. Violin Concerto No.2 in D, K.211 - 2. Andante | 7:06 | £0.79 | ||
| Play | 6. Violin Concerto No.2 in D, K.211 - 3. Rondeau (Allegro) | 4:27 | £0.79 | ||
| Play | 7. Violin Concerto No.3 in G, K.216 - 1. Allegro | 8:14 | £0.79 | ||
| Play | 8. Violin Concerto No.3 in G, K.216 - 2. Adagio | 6:48 | £0.79 | ||
| Play | 9. Violin Concerto No.3 in G, K.216 - 3. Rondo (Allegro) | 5:46 | £0.79 | ||
| Play | 10. Rondo for Violin and Orchestra in B flat, K.269 | 6:28 | £0.79 | ||
| Disc 2: | |||||
| Song Title | Time | Price | |||
| Play | 1. Violin Concerto No.4 in D, K.218 - 1. Allegro | 8:22 | £0.79 | ||
| Play | 2. Violin Concerto No.4 in D, K.218 - 2. Andante cantabile | 6:00 | £0.79 | ||
| Play | 3. Violin Concerto No.4 in D, K.218 - 3. Rondeau (Andante grazioso - Allegro ma non troppo) | 6:43 | £0.79 | ||
| Play | 4. Violin Concerto No.5 in A, K.219 - 1. Allegro aperto | 8:57 | £0.79 | ||
| Play | 5. Violin Concerto No.5 in A, K.219 - 2. Adagio | 8:44 | £0.79 | ||
| Play | 6. Violin Concerto No.5 in A, K.219 - 3. Rondeau (Tempo di minuetto) | 7:59 | £0.79 | ||
| Play | 7. Adagio for Violin and Orchestra in E, K.261 | 6:32 | £0.79 | ||
| Play | 8. Rondo for Violin and Orchestra in C, K.373 | 5:44 | £0.79 | ||
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Customer Reviews
Most Helpful Customer Reviews
11 of 12 people found the following review helpful
Format:Audio CD
With the arrival of Giuliano Carmignola's new Archiv version of these concertos (July 2008), it is time for some reappraisal. How does this 1990 recording by Simon Standage fare in comparison? There is precious little to choose between them in terms of price, and Standage is always worth taking into account, especially if, like me, you feel that the other contenders - Anne-Sophie Mutter et al - create a sound that is too warm and 'Romantic'.
Although Standage is admirably restrained here, his tone being undemonstratively cool, the presentation of these youthful pieces does seem to lack a certain energy and dynamism. The AAM under Christopher Hogwood, while proving as competent as ever, offer little to relieve the sensation of anaemia. The overall effect is too unadventurous, too muted, too pallid. The cadenza of Concerto 4's Rondeau features a provocative little slide while that of Concerto 3 has arabesques elaborating over the orchestra's refrain. Such injections of colour, however, are too rare.
Generally, the cadenzas are lacklustre - and the booklet doesn't help by omitting to identify them. Its brief notes do, however, provide a quotation from a letter by Wolfgang to Leopold: 'You know I am no lover of difficulties.' (This, presumably, to justify the restrained, un-pyrotechnical performance style.) Ultimately and unfortunately, we've no way of knowing exactly whose style or tempi their composer would have preferred, or even whether he would have advocated original or modern instruments. One thing is questionable, however: in what sense is a violin made in 1987 'authentic'? Modelled on a violin by Stradivarius - 'The Dancla' of 1703, apparently - one wonders just how close a match the new version is to the old in terms of its essential quality: sound.
So times move on. Although I could easily live with these performances by an outstanding violinist, Carmignola's new CD would have to be the recommendation - especially so given its 'bonus' material, the wonderfully dramatic Sinfonia Concertante for violin and viola, K364.
Although Standage is admirably restrained here, his tone being undemonstratively cool, the presentation of these youthful pieces does seem to lack a certain energy and dynamism. The AAM under Christopher Hogwood, while proving as competent as ever, offer little to relieve the sensation of anaemia. The overall effect is too unadventurous, too muted, too pallid. The cadenza of Concerto 4's Rondeau features a provocative little slide while that of Concerto 3 has arabesques elaborating over the orchestra's refrain. Such injections of colour, however, are too rare.
Generally, the cadenzas are lacklustre - and the booklet doesn't help by omitting to identify them. Its brief notes do, however, provide a quotation from a letter by Wolfgang to Leopold: 'You know I am no lover of difficulties.' (This, presumably, to justify the restrained, un-pyrotechnical performance style.) Ultimately and unfortunately, we've no way of knowing exactly whose style or tempi their composer would have preferred, or even whether he would have advocated original or modern instruments. One thing is questionable, however: in what sense is a violin made in 1987 'authentic'? Modelled on a violin by Stradivarius - 'The Dancla' of 1703, apparently - one wonders just how close a match the new version is to the old in terms of its essential quality: sound.
So times move on. Although I could easily live with these performances by an outstanding violinist, Carmignola's new CD would have to be the recommendation - especially so given its 'bonus' material, the wonderfully dramatic Sinfonia Concertante for violin and viola, K364.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
3 reviews
22 of 23 people found the following review helpful
Highly recommended
31 July 2004
Format:Audio CD
These five violin concertos, written by Mozart when he was still a teenager, are some of the earliest works by Mozart found in the standard repertoire today. In fact, the music *sounds* youthful, lacks (for better or worse) the pathos that later crept into Mozart's music, and is often sublimely beautiful.
The performers on this recording, Simon Standage, Christopher Hogwood, and the Academy of Ancient Music, are all leading figures in the modern authentic performance movement. Their recording makes a strong case for performing these concertos on authentic instruments, using a historically informed style. In my first couple minutes of listening I felt startled by Standage's extremely sparing use of vibrato, but my ears quickly got used to it, and soon I felt that the music was coming through with a clarity I had never experienced before. Now that I've heard Standage, conventional performances of these concertos say to me, in effect, "Listen to my plush tone, my rich vibrato, my powerful attack..." Standage isn't calling attention to himself at all, but rather is showing simply and effectively how lovely the music is.
The cadenzas appear to be new, and are often rather witty. The bargain two-disk recording includes a number of concerto movements which I had not previously heard, along with the standard five concertos.
If you already love these works, this recording is definitely worth giving a try; and even though it is "non-standard" in its approach, I would recommend it as a first-time purchase as well.
The performers on this recording, Simon Standage, Christopher Hogwood, and the Academy of Ancient Music, are all leading figures in the modern authentic performance movement. Their recording makes a strong case for performing these concertos on authentic instruments, using a historically informed style. In my first couple minutes of listening I felt startled by Standage's extremely sparing use of vibrato, but my ears quickly got used to it, and soon I felt that the music was coming through with a clarity I had never experienced before. Now that I've heard Standage, conventional performances of these concertos say to me, in effect, "Listen to my plush tone, my rich vibrato, my powerful attack..." Standage isn't calling attention to himself at all, but rather is showing simply and effectively how lovely the music is.
The cadenzas appear to be new, and are often rather witty. The bargain two-disk recording includes a number of concerto movements which I had not previously heard, along with the standard five concertos.
If you already love these works, this recording is definitely worth giving a try; and even though it is "non-standard" in its approach, I would recommend it as a first-time purchase as well.
10 of 11 people found the following review helpful
Mozart: The Violin Concertos, etc / Standage, Hogwood
27 Feb 2001
Format:Audio CD
This recording of the AAM performing Mozart's Violin Concertos like most of their other performances is excellent. The use of period instruments seems particularly well suited to Mozart's music. This CD is well worth the price especially since you get over two hours of music.
3 of 3 people found the following review helpful
Wouldn't have it any other way
14 Jan 2011
Format:Audio CD
I bought this CD 15+ years ago and it has remained in my classical rotation ever since. I can't imagine a better approach than that of Hogwood and Standage. I love the crisp attack. I own a CD version of Mozarts sinfonia concertante with Ishtak Perlman on the violin. I would love to get a version with Standage. I don't much care for the "weepy" overdone modern way of playing Mozart on the violin. His music definitely calls for the Hogwood and Standage approach. I can't recommend this CD highly enough.
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