Nikolaj Znaider Remarquables Et Restitués Grâce Aux Techniques Les Plus Modernes De L’Enregistrement Haute-Définition

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Pour plus d’informations, rendez vous sur le site lso.co.uk LSO Live fängt unter Einsatz der neuesten High-Density Aufnahmetechnik außerordentliche Darbietungen der besten Musiker ein. Das Ergebnis? Sensationelle Klangqualität und maßgebliche Interpretationen, gepaart mit der Energie und Violin Concertos Nos 4 & 5 Gefühlstiefe, die man nur live im Konzertsaal erleben kann. LSO Live lässt jedermann an der aufregendsten, herrlichsten Musik dieser Welt teilhaben. Wenn Sie mehr erfahren möchten, schauen Sie bei uns herein: lso.co.uk LSO0807 Wolfgang Amadeus Mozart (1756–1791) Track list Violin Concerto No 4 in D major, K218 (1775) Mozart Violin Concerto No 4 in D major, K218 Violin Concerto No 5 in A major, K219 (1775) 1 I. Allegro 8’37’’ 2 II. Andante cantabile 6’20’’ Nikolaj Znaider conductor / violin 3 III. Rondeau: Andante grazioso - Allegro ma non troppo 6’51’’ London Symphony Orchestra Mozart Violin Concerto No 5 in A major, K219 4 I. Allegro aperto - Adagio - Allegro aperto 9’52’’ 5 II. Adagio 10’24’’ 6 III. Rondeau: Tempo di menuetto - Allegro - Tempo di Menuetto 8’24’’ Total 50’28’’ Recorded live in DSD 128fs, 18 December 2016 (No 4) & 14 May 2017 (No 5) at the Barbican, London Andrew Cornall producer Classic Sound Ltd recording, editing and mastering facilities Jonathan Stokes for Classic Sound Ltd balance engineer (No 4) recording engineer (No 5) Neil Hutchinson for Classic Sound Ltd balance engineer (No 5) recording engineer (No 4) Jonathan Stokes and Neil Hutchinson for Classic Sound Ltd audio editing, mixing and mastering Super Audio layer includes 2.0 stereo and 5.1 multi-channel mixes 3 Wolfgang Amadeus Mozart kind. For the accent here is not on technical is violin writing of the most serenely classical kind, more so in the light of the considerable beauty brilliance but on lyricism and an eloquent personal making use both of the instrument’s clear higher and all-round compositional skill shown by the (1756–1791) expressiveness which we now recognise as being register and of the soulful richness of its lower strings. fi fth and last of the violin concertos, a work that Violin Concerto No 4 in D major, K218 (1775) unique to the composer, but which at the time seems to pull together many of the best qualities marked a new stage in his artistic development. The fi nale is a Rondo in which Mozart delights of its predecessors. As he once wrote to his father after hearing in keeping the listener guessing by constantly Although the prevailing image of Mozart the another violinist play a particularly demanding hopping between two diff erent musical ideas – Completed on 20 December 1775 – only two months performer is that of a pianist, the part played by concerto, ‘I am no lover of diffi culties’. the poised Andante grazioso with which it opens, after the fourth – the fi fth is a work that, while the violin in his early development as a musician and the tripping Allegro, which interrupts its every being perhaps the most technically demanding was hardly less important. How, indeed, could it be Mozart composed his fi rst violin concerto – his appearance. And if there is a hint of pastoral dance of the violin concertos, combines radiant warmth otherwise when his father and teacher, Leopold, was fi rst concerto for any instrument – in 1773. The about the latter, there is no mistaking the folk- with sprightly humour, and violinistic athleticism the author of Violinschule, one of the eighteenth remaining four were written in rapid succession music inspiration for the episode which occurs with sublime poetry. Conceived on a notably century’s most infl uential treatises on violin during the latter half of 1775. The Fourth is dated about halfway through the movement, when an larger scale, too, it has the look of a new stage technique? Accounts of the child-prodigy’s triumphs October 1775, following hard on the heels of the exaggeratedly powdered French-style gavotte turns of development, so how strange it is that, at the around Europe suggest that, at that stage at least, well-known Violin Concerto No 3, a work which had up, followed by a more rustic tune with bagpipe- age of 19, Mozart should here be writing his last he was equally profi cient on violin and keyboard, shown a considerable leap in creative assurance like drones from the soloist. It would be a mistake, concerto for violin. How, too, one could wish for and right into the mid-1770s his letters home to over its predecessors. The Fourth exudes the same however, to imagine Mozart empathising too just a few more! his family contained reports of public appearances newfound confi dence, yet compared to the Third strongly with the lot of country folk; this is a rural as a violinist. ‘I played Vanhal’s Violin Concerto in it is a less dreamy work, bolder and cleaner. The world whose origins lie more in the make-believe That this is a concerto not to be hurried is soon B fl at, which was unanimously applauded’, he wrote fi rst movement is lean and muscular, but at the of French ballet than in the realities of the Austrian established. Thematically speaking, the opening is from Augsburg in 1777. ‘In the evening at supper same time maintains an elegant clarity and grace. countryside. Even so, it has a pleasantly calming surprisingly unassertive, with the orchestral violins I played my Strasbourg Concerto, which went like The Third had revelled in delicate dialogue between atmosphere of its own, and helps to lead the concerto striding out lightly over a quivering accompaniment, oil. Everyone praised my beautiful, pure tone.’ soloist and orchestra, but the Fourth allows the towards a conclusion charmingly free of bombast. but without anything that strikes the listener as a violin to indulge in a more continuous fl ow of theme as such. Even more unexpected is the way Despite these peripatetic successes, it was melody, with the orchestra providing a supportive in which the soloist emerges: six bars of pensively Salzburg that was really the spiritual home of role. As ever in his concertos, Mozart also shows soaring adagio over a murmuring accompaniment, Mozart’s violin music. It was there – where violin Wolfgang Amadeus Mozart skill and imagination in the ordering and handling eventually bursting out into a new theme full of concerto movements were as likely to be heard of his various themes. The little fanfare with (1756–1791) swaggering self-confi dence and revealing the as outdoor evening entertainment music or as an which the movement opens, for instance, returns opening to have been an accompaniment in search embellishment to a church service as in a concert Violin Concerto No 5 in A major, K219 (1775) to inaugurate the fi rst solo, its reappearance in of a tune. Note, too, how the little upward sweep hall – that he fi rst played a concerto at the age a higher register transforming it into a lyrical Mozart’s period of devotion to the violin concerto that ends the fi rst orchestral section is taken of seven, later toiled in the court orchestra, and, statement. After that it is not heard again. was a short one; after 1775, he produced no more up for development later in the movement. The between 1773 and 1775, composed his fi ve violin in the remaining 16 years of his life. Subsequent tempo marking, incidentally, is one that Mozart concertos. They may not always probe the depths The radiant Andante cantabile extends the concertos included examples for horn, oboe, fl ute, seems to have been almost the only composer of his later, Viennese piano concertos, but it is dominance of the soloist, for after the orchestra’s clarinet, and, most gloriously, piano, but the violin to use: the Italian word aperto can be translated true to say that they all show some degree of opening statement, it is the violin that carries the never occupied him again in this regard. By any variously as ‘open’, ‘bold’, ‘clear’ or ‘frank’. Mozartian inspiration, often of the most ravishing song-like melody almost without interruption. This standards this is regrettable, but it appears even 4 5 The slow movement is longer than those of the Andante and Allegro for keyboard, were written Wolfgang Amadeus Mozart violon. Peut-être n’atteignent-ils pas en profondeur other violin concertos of 1775, but its eff ortless down in the early months of 1761; later that year, ses concertos pour piano plus tardifs, composés à beauty never wavers. There is little dialogue, just the boy performed in public for the first time at the (1756–1791) Vienne ; mais tous témoignent à un degré ou à un a serenely drawn and eff ortlessly touching melody University of Salzburg. Mozart’s ambitious father, Concerto pour violon n° 4, en ré majeur, autre de l’inspiration mozartienne, souvent dans for the solo violin, with the orchestra supplying Leopold, court composer and Vice-Kapellmeister ce qu’elle a de plus séduisant.

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